"Avital Ronell has put together what must be one of the most remarkable critical oeuvres of our era… Zeugmatically yoking the slang of pop culture with philosophical analysis, forcing the confrontation of high literature and technology or drug culture, Avital Ronell produces sentences that startle, irritate, illuminate. At once hilarious and refractory, her books are like no others.”--Jonathan Culler, Diacritics
 
For twenty years Avital Ronell has stood at the forefront of the confrontation between literary study and European philosophy. She has tirelessly investigated the impact of technology on thinking and writing, with groundbreaking work on Heidegger, dependency and drug rhetoric, intelligence and artificial intelligence, and the obsession with testing. Admired for her insights and breadth of field, she has attracted a wide readership by writing with guts, candor, and wit.
 
Coyly alluding to Nietzsche’s “gay science,” The ÜberReader presents a solid introduction to Avital Ronell’s later oeuvre. It includes at least one selection from each of her books, two classic selections from a collection of her early essays (Finitude’s Score), previously uncollected interviews and essays, and some of her most powerful published and unpublished talks. An introduction by Diane Davis surveys Ronell’s career and the critical response to it thus far.
 
With its combination of brevity and power, this Ronell “primer” will be immensely useful to scholars, students, and teachers throughout the humanities, but particularly to graduate and undergraduate courses in contemporary theory.
 

This collection seeks to define the emerging field of "ubiquitous learning," an educational paradigm made possible in part by the omnipresence of digital media, supporting new modes of knowledge creation, communication, and access. As new media empower practically anyone to produce and disseminate knowledge, learning can now occur at any time and any place. The essays in this volume present key concepts, contextual factors, and current practices in this new field.

Contributors are Simon J. Appleford, Patrick Berry, Jack Brighton, Bertram C. Bruce, Amber Buck, Nicholas C. Burbules, Orville Vernon Burton, Timothy Cash, Bill Cope, Alan Craig, Lisa Bouillion Diaz, Elizabeth M. Delacruz, Steve Downey, Guy Garnett, Steven E. Gump, Gail E. Hawisher, Caroline Haythornthwaite, Cory Holding, Wenhao David Huang, Eric Jakobsson, Tristan E. Johnson, Mary Kalantzis, Samuel Kamin, Karrie G. Karahalios, Joycelyn Landrum-Brown, Hannah Lee, Faye L. Lesht, Maria Lovett, Cheryl McFadden, Robert E. McGrath, James D. Myers, Christa Olson, James Onderdonk, Michael A. Peters, Evangeline S. Pianfetti, Paul Prior, Fazal Rizvi, Mei-Li Shih, Janine Solberg, Joseph Squier, Kona Taylor, Sharon Tettegah, Michael Twidale, Edee Norman Wiziecki, and Hanna Zhong.

What would it mean to turn to ugliness rather than turn away from it? Indeed, the idea of ugly often becomes synonymous with non-white, non-male, and non-heterosexual physicality and experience. That same pejorative migrates to become a label for practices within underground culture. In Ugly Differences, Yetta Howard uses underground contexts to theorize queer difference by locating ugliness at the intersection of the physical, experiential, and textual. From that nexus, Howard contends that ugliness—as a mode of pejorative identification—is fundamental to the cultural formations of queer female sexuality. Slava Tsukerman's postpunk film Liquid Sky, Sapphire's poetry, Roberta Gregory's Bitchy Butch comix, New Queer Cinema such as High Art—these and other non-canonical works contribute to an audacious critique. Howard reveals how the things we see, read as, or experience as ugly productively account for non-dominant sexual identities and creative practices. Ugly Differences offers eye-opening ways to approach queerness and its myriad underground representations.

Robert Parker ranges widely through
  literary history and theory to give the poems of Elizabeth Bishop (1911-79)
  the serious critical attention they deserve. The Unbeliever shows that
  Bishop's poems, already famous for their clear and quiet tone, also struggle
  with confusion and wonder about things she can never make quiet or clear.
 

This volume collects the letters written over a thirty-year period by a second generation Chinese American woman, Flora Belle Jan (1906–50). Born in California to immigrant parents and educated at Berkeley and the University of Chicago, Jan raised three children with her husband Charles Wang and worked as a journalist in both the United States and China. Written during the years 1918–48, these letters offer unique insight into the social and political situation of educated, middle-class, professional Chinese American women in the early twentieth century. Literate, candid, and charming, they convey the intellectual curiosity and perspicacity of a vivacious and ambitious woman while tracing her engagement with two different worlds.

Heide Schlüpmann's classic study of early German cinema was published in German as Unheimlichkeit des Blicks: Das Drama des Frühen deutschen Kinos in 1990. For the first time in English, this translation makes available her feminist examination of German cinema and Germany in the sociopolitical context of Wilhelmine society. By examining then-unknown pre-World War I narrative films, this study paints a picture of the conflicted early years of the German cinema. During this period cinema and film production were able to develop independently from the cultural bourgeoisie and relied on those forces excluded from high "culture": technology, business, performers, showmen, and actors. In cinema, the dime novel and kitsch were exhibited for all, and the internationalism of modernity prevailed over the prevailing nationalism of the period.

Featuring a foreword by film scholar Miriam Hansen and a new afterword by Schlüpmann, this volume performs a critical perusal of film commentary and offers an in-depth look at little-known films in early German cinema.

Widely acclaimed for its comprehensive and sensitive picture of one of America's most renowned writers, The Unfinished Quest of Richard Wright received the Anisfield-Wolf Award on Race Relations when it was first published. This first paperback edition contains a new preface and bibliographic essay, updating changes in the author's approach to his subject and discussing works published on Wright since 1973.
 

Emmanuel Levinas (1906-95) placed ethics at the foundation of philosophy; during his life, which spanned almost the entire twentieth century, he witnessed devastating events that could not have been more demanding of that philosophical stance.
 
Unforeseen History covers the years 1929-92, providing a wide overview of Levinas's work-–especially his views on aesthetics and Judaism--offering examples of his precise thinking at work in small essays, long essays, and interviews.
 
The earliest essays in Unforeseen History discuss phenomenology, a subject Levinas introduced to a great many French thinkers, including Jean-Paul Sartre. In his prescient 1934 essay "Some Thoughts on the Philosophy of Hitlerism," moreover, he confronted a philosophy that had yet to manifest itself fully in cataclysm.
     
 

Union-Free America: Workers and Antiunion Culture confronts one of the most vexing questions with which labor activists and labor academics struggle: why is there so much opposition to organized labor in the United States? Scholars often point to powerful obstacles from employers or governmental policies, but Lawrence Richards offers a more complete picture of the causes for union decline in the postwar period by examining the attitudes of the workers themselves. Large numbers of American workers in the 1970s and 1980s told pollsters that they would vote against a union if an election were held at their place of employment, and Richards provides a provocative explanation for this hostility: a pervasive strain of antiunionism in American culture that has made many workers distrustful of organized labor.

Weighing the arguments of previous historians and sociologists, Richards posits that this underlying antiunion culture in America has been remarkably consistent over the course of half a century. Assessing organizing efforts among blue-collar, white-collar, and pink-collar workers, Richards examines the tactics and countertactics of company and union representatives who sought to either exploit or neutralize workers' popular negative stereotypes of organized labor's insidious control over workers' autonomy. The book considers a number of case studies of organizing drives throughout recent history, from the failed attempt by District 65 to organize clerical workers at New York University in 1970, to a similarly fruitless drive by the Textile Workers Union in 1980 at a textile factory in Charlottesville, Virginia. In both of these particular cases and in many more, antiunion culture has operated to hinder unions' efforts to organize the unorganized. By examining the manifestations and motivations of antiunion culture in the United States, Richards helps explain why so many American workers seem to vote against their own self-interest and declare themselves "Union Free and Proud."

A Choice Outstanding Academic Title, 2011.

Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy.

In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.

The distinguished historian Winton U. Solberg presents a detailed case study of one institution's transformation into a modern American university.
 
The years 1894 to 1904 mark the stormy tenure of Andrew S. Draper as president of the University of Illinois. Draper, a successful superintendent of schools with no college or university experience and no credentials as a post-secondary administrator, presided over many crucial improvements in the university's physical plant, curricula, and other areas. However, he failed to infuse the university with a spirit of cohesion, and his term as president was fraught with conflict.
From his inauguration on, the autocratic Draper collided with deans and faculty who opposed both the substance of his changes and the manner in which he presented and implemented them.
 
This volume closely examines the Draper years from the perspectives of faculty, students, and administrators. Solberg outlines the administrative, faculty, staff, and physical infrastructure. He also reveals a vibrant and varied student life, including a whirl of social activities, literary societies, intercollegiate debate and athletics, hazing, religion, and increasingly prominent fraternities.
 
A sharply delineated and detailed picture of a university in transition, The University of Illinois, 1894-1904 traces the school's shift from an institution known primarily as a training ground for engineers to a full-fledged university poised to compete on the national level.
 

The founding of the university in 1867 created a unique community in what had been a prairie. Within a few years, this creative mix of teachers and scholars produced innovations in agriculture, engineering and the arts that challenged old ideas and stimulated dynamic new industries. Projects ranging from the Mosaic web browser to the discovery of Archaea and pioneering triumphs in women's education and wheelchair accessibility have helped shape the university's mission into a double helix of innovation and real-world change. These essays explore the university's celebrated accomplishments and historic legacy, candidly assessing both its successes and its setbacks. Experts and students tell the eye-opening stories of campus legends and overlooked game-changers, of astonishing technical and social invention, of incubators of progress as diverse as the Beckman Institute and Ebertfest. Contributors: James R. Barrett, George O. Batzli, Claire Benjamin, Jeffrey D. Brawn, Jimena Canales, Stephanie A. Dick, Poshek Fu, Marcelo H. Garcia, Lillian Hoddeson, Harry Liebersohn, Claudia Lutz, Kathleen Mapes, Vicki McKinney, Elisa Miller, Robert Michael Morrissey, Bryan E. Norwood, Elizabeth H. Pleck, Leslie J. Reagan, Susan M. Rigdon, David Rosenboom, Katherine Skwarczek, Winton U. Solberg, Carol Spindel, William F. Tracy, and Joy Ann Williamson-Lott.

Between 1931 and 2000, India's popular cinema steadily overcame Hollywood domination. Bollywood, the film industry centered in Mumbai, became nothing less than a global cultural juggernaut. But Bollywood is merely one part of the country's prolific, multilingual cinema. Unruly Cinema looks at the complex series of events that allowed the entire Indian film industry to defy attempts to control, reform, and refine it in the twentieth century and beyond.

Rini Bhattacharya Mehta considers four aspects of Indian cinema's complicated history. She begins with the industry's surprising, market-driven triumph over imports from Hollywood and elsewhere in the 1930s. From there she explores how the nationalist social melodrama outwitted the government with its 1950s cinematic lyrical manifestoes. In the 1970s, an action cinema centered on the angry young male co-opted the voice of the oppressed. Finally, Mehta examines Indian film's discovery of the global neoliberal aesthetic that encouraged the emergence of Bollywood.

Writing in the New York Times Magazine, Max Frankel characterized Unsecular Media as a book that "leaves you thinking about the saintly role that religion has acquired in our allegedly irreligious media."

Mark Silk's book is the first to offer a comprehensive description and analysis of how American news media cover religion.
 

The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America's potent mass culture. Drawn by Hollywood's potential to reach—and edify—the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in their own distinctive way, left an indelible mark on movie history. Sally Bick's dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Copland's music for Of Mice and Men and Eisler's score for Hangmen Also Die! Bick illuminates the different ways the composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition. She also delves into Copland's and Eisler's often conflicted attempts to adapt their music to fit Hollywood's commercial demands, an enterprise that took place even as they wrote hostile critiques of the film industry.

Could Woody Allen have made the same movies if he weren't Jewish? Would John Ford's pictures have been different if he weren't an Irish Catholic? Is Spike Lee's color an important ingredient in his movie-making? Such engaging issues are considered in Unspeakable Images, a volume that encourages fresh thinking and research about ethnic issues and the American cinema.
 
In fourteen chapters on topics ranging from film comedy to reporter movies to Latins in Manhattan, contributors from diverse disciplines explore ethnicity as a broad, complex, multilayered concept. The book's first section scrutinizes ethnicity within the context of traditional modes of film analysis---historical, auteurist, and generic. Essays in the second section relate ethnicity to broader areas of critical thought such as cultural studies, ethnography, postmodernism, psychoanalysis, feminism, and class studies, analyzing how each intersects and amplifies the other.
 

Rooted in the crisis over slavery, disagreements about child labor broke down along sectional lines between the North and South. For decades after emancipation, the child labor issue shaped how Northerners and Southerners defined fundamental concepts of American life such as work, freedom, the market, and the state.

Betsy Wood examines the evolution of ideas about child labor and the on-the-ground politics of the issue against the backdrop of broad developments related to slavery and emancipation, industrial capitalism, moral and social reform, and American politics and religion. Wood explains how the decades-long battle over child labor created enduring political and ideological divisions within capitalist society that divided the gatekeepers of modernity from the cultural warriors who opposed them. Tracing the ideological origins and the politics of the child labor battle over the course of eighty years, this book tells the story of how child labor debates bequeathed an enduring legacy of sectionalist conflict to modern American capitalist society.

The legal community traditionally has drawn unsystematically and at will on the findings of social science, sometimes with unfortunate results. The authors of this study explore this issue by focusing on the way the United States Supreme Court uses social science data in reaching its decisions. Concentrating on decisions involving abortion, sex discrimination, and sexual harassment, they show that the use of such data has increased over the last twenty years, but that the data's use by the court appears to hinge more on the judges' liberal, conservative, or long-held positions and the types of cases involved than on the objectivity or validity of the data.
     
By offering insights into how data are used by the Supreme Court, the authors hope to show social scientists how to make their research more suitable for courtroom use and to show the legal community how such data can be used more effectively. The volume includes an overview of the kinds of research used, a list of cases in which such research was used, and a discussion of justices and how they voted on cases in which such data were used from 1972 to 1992.
 

For decades, Michael S. Harper has written poetry that speaks with many voices. His work teems with poetry configured as awe, poetry as courtship, and poetry as elegy and homage. Infused with tales and riddles, sass and satire and surprise, Harper’s poetry takes the form of psalms, jazz experiments, soft serenades, and radical provocations.

In Use Trouble, his first major collection since Songlines in Michaeltree, Harper renews poetry as the art of taking nothing for granted. In three groups--"The Fret Cycle," "Use Trouble," and "I Do Believe in People"--he draws on his seemingly inexhaustible resources to paint, sing, sympathize, and sorrow. Here are his tributes to his father and family, his irrepressible playfulness, and his lifelong romance between poetry and music.