For more than a century cars have symbolized autonomous, unfettered mobility and an increasingly global experience. And yet, they are often used differently outside the centers of global capitalism. This pioneering book considers how, through the lens of the automobile, we can assess the pleasures, dangers, and limits of global modernity in West Africa. Through new and provocative readings of famous plays, novels, and films, as well as recent popular videos, Postcolonial Automobility reveals the surprising ways in which automobility in the region is, at once, an everyday practice, an ethos, a fantasy of autonomy, and an affective activity intimately tied to modern social life.
Lindsey B. Green-Simms begins with the history of motorization in West Africa from the colonial era to the decolonizing decades after World War II, and addresses the tragedy of car accidents through a close reading of Wole Soyinka’s 1965 postindependence play The Road. Shifting to screen media, she discusses Ousmane Sembene’s Xala and Jean-Pierre Bekolo’s Quartier Mozart and reviews popular, low-budget Nollywood films. Finally, Green-Simms considers how feminist texts rewrite and work in dialogue with the male-centered films and novels where the car stands in for patriarchal power and capitalist achievement.
Providing a unique perspective on technology in Africa—one refusing to be confined to narratives of either underdevelopment or inevitable progress—and covering a broad range of interdisciplinary material, Postcolonial Automobility will appeal not only to scholars and students of African literature and cinema but also to those in postcolonial and globalization studies.
Explores French-language writing by women outside France.
This groundbreaking volume highlights the work of contemporary women writing in French whose cultural links, ethnic identities, and historical roots lie outside France. The writings of these women emanate from the cultures of Africa and the Indian Ocean, the Middle East, the Caribbean, Southeast Asia, and Quebec and other French-speaking regions of Canada.
By writing in French, the writers discussed in Postcolonial Subjects both acknowledge and write against the cultural heritage of France. In doing so, they participate in the subversion of European literary traditions and take part in various forms of cultural and linguistic blending, generating new artistic currents. Each of these essays articulates contemporary debates about the politics and cultural effects of sexism, homophobia, racism, and essentialism, as well as pointing out connections and points of resistance among such diverse strains as feminism, nationalism, and ethnicity. Contributors: Eloise A. Brière, U of Albany; Miriam Cooke, Duke U; Irène Assiba d’Almeida, U of Arizona; Joan Dayan, U of Arizona; John D. Erickson, U of Kentucky; Françoise Lionnet, Northwestern U; Christiane Makward, Pennsylvania State U; Kitzie McKinney, Bentley College; Christopher L. Miller, Yale U; Mary-Kay Miller, Vanderbilt U; Jane Moss, Colby College; Elisabeth Mudimbe-Boyi, Stanford U; Lori Saint-Martin, U du Québec à Montréal; Ronnie Scharfman, Purchase College, SUNY.A Peculiar Imbalance is the little-known history of the black experience in Minnesota in the mid-1800s, a time of dramatic change in the region. William D. Green explains how, as white progressive politicians pushed for statehood, black men who had been integrated members of the community, owning businesses and maintaining good relationships with their neighbors, found themselves denied the right to vote or to run for office in those same communities.
As Minnesota was transformed from a wilderness territory to a state, the concepts of race and ethnicity and the distinctions among them made by Anglo-Americans grew more rigid and arbitrary. A black man might enjoy economic success and a middle-class lifestyle but was not considered a citizen under the law. In contrast, an Irish Catholic man was able to vote—as could a mixed-blood Indian—but might find himself struggling to build a business because of the ethnic and religious prejudices of the Anglo-American community. A Peculiar Imbalance examines these disparities, reflecting on the political, social, and legal experiences of black men from 1837 to 1869, the year of black suffrage.
When viewed from our turbulent times, the Minneapolis of fifty years ago might seem serene, but Minneapolis schoolteachers of the day remember it quite differently. It was, author William D. Green said of their recollections, as if they’d been through war. This book recreates twenty days in April 1970 when a then-illegal strike by Minneapolis’s public school teachers marked a singular moment of cultural upheaval—and forever changed the city’s politics, labor law, educational climate, and the right to collective bargaining.
Since the inception of public education in Minnesota, teachers were expected to pursue their vocation out of civic spirit, with low wages, no benefits, and no job security. Strike! describes the history and circumstances leading to the teachers’ extraordinary action, which pitted the progressive and conservative teachers’ unions against each other—and both against the all-powerful school district, a hostile governor and state legislature, and a draconian Minnesota law. Capturing the intense emotions and heated rivalries of the strike, Green profiles the many actors involved, the personal and professional stakes, and the issues of politics, law, and the business of education.
Informed by interviews, firsthand accounts, news reports, and written records, Strike! brings to life a pivotal moment not just for Minneapolis’s teachers but for the city itself, whose government, school system, and culture would, in a complex but inexorable way, change course for good.
Clement Greenberg (1909-1994) was a colossus of twentieth-century American art, achieving a degree of authority almost unimaginable for a critic today. For more than thirty years he was both lionized as a proponent of formalism and criticized for his perceived dogmatism. In the postwar period Greenberg used his position of influence to advocate the importance of abstract expressionism and color-field painting and to establish the careers of such artists as Jackson Pollock, Hans Hofmann, Barnett Newman, and Willem de Kooning. With the coming of pop art, performance and conceptual art, and postmodernism, however, Greenberg found his position increasingly challenged.
Edited with an introduction by critic Robert C. Morgan, Clement Greenberg, Late Writings is the first collection from the period 1970 to 1990, and the only comprehensive resource for Greenberg’s thought during the last third of his life. While earlier works have covered Greenberg’s early and middle career, this volume spans his mature period, during which he reevaluates and refines many of his earlier tenets in some of his most carefully crafted and engaging work. Exploring a surprising breadth of issues and mediums and demonstrating a depth of aesthetic and philosophical insights, in these relatively unknown works Greenberg incites a new direction for modernism beyond the twentieth century.
This essential volume includes five interviews from the end of his life in which Greenberg revisits some of the concerns of his formative years, illuminating the progression of his thought. Late Writings is an integral resource as issues of quality and significance in the dynamic world of art continue to be redefined.
Clement Greenberg was the most influential art critic of the postwar period. He was the author of numerous books, and his essays appeared in art magazines as well as such publications as Partisan Review, Commentary, and The Nation.
Robert C. Morgan is the author of The End of the Art World and of a monograph on the optical painter Vasarely. In addition to his work as a critic, artist, art historian, and curator, he is visiting professor of art at Hunter College in New York City.
Canonical States, Canonical Stages was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In the crucible of seventeenth-century Europe, a new kind of subjectivity formed, private and interior. Perversely, the new private subject made its most spectacular appearance on the public stage-an appearance that, as Mitchell Greenberg amply demonstrates, also marked the emergence of absolutism in Europe. What these two phenomena had to do with one another, and how they were elaborated in the theater of the seventeenth century, is the subject of Greenberg's book, a masterful critical work that relates the dramatic construction of modern subjectivity and absolutist culture to the formation of the Western literary canon.
In particular, Canonical States, Canonical Stages shows how the Oedipus myth, reinterpreted on various stages at the end of the Renaissance, served the purposes of the emerging culture by replaying the founding moment of absolute rule. Working with models of genealogical criticism, psychoanalysis, and a certain Continental feminism, Greenberg reads plays by Shakespeare, Lope de Vega, Calderón, Corneille, and Racine to show how, as symptomatic texts staged within the confines of familial scenarios, they combine a dynamics of politics with a conflicting "private" desire shown to be inimical to the dominant ideology. This analysis reveals how scenarios of sacrifice and transcendence are brought into play to normalize and naturalize inchoate and threatening forces of social change by appealing to preexisting cultural models such as the myth of Oedipus. A fascinating integration of texts from political theory, psychoanalysis, history, and literature, Canonical States, Canonical Stages offers a powerful interpretation of the interrelated representation of subjectivity and absolutism on the seventeenth-century stage.Winner of the 1995 MLA Aldo and Jeanne Scaglione Prize for Comparative Literary Studies
Mitchell Greenberg is chair of the Department of French and Italian at Miami University in Ohio. He is the author of, among other books, Subjectivity and Subjugation in Seventeenth-Century Drama and Prose: The Family Romance of French Classicism (1992).
A study of all of the major tragedies of Jean Racine, France's preeminent dramatist-and, according to many, its greatest and most representative author-Mitchell Greenberg's work offers an exploration of Racinian tragedy to explain the enigma of the plays' continued fascination.
Greenberg shows how Racine uses myth, in particular the legend of Oedipus, to achieve his emotional power. In the seventeenth-century tragedies of Racine, almost all references to physical activity were banned from the stage. Yet contemporary accounts of the performances describe vivid emotional reactions of the audiences, who were often reduced to tears. Greenberg demonstrates how Racinian tragedy is ideologically linked to Absolutist France's attempt to impose the "order of the One" on its subjects. Racine's tragedies are spaces where the family and the state are one and the same, with the result that sexual desire becomes trapped in a closed, incestuous, and highly formalized universe.
Greenberg ultimately suggests that the politics and sexuality associated with the legend of Oedipus account for our attraction to charismatic leaders and that this confusion of the state with desire explains our continued fascination with these timeless tragedies.
Jonathan Edwards - American Writers 97 was first published in 1971. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Old Brick was first published in 1980. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Charles Chauncy was a powerful and influential figure in his own time, but in historical accounts he has always been overshadowed by his contemporaries Benjamin Franklin and Jonathan Edwards. When he is remembered today, it is usually as Edwards's chief antagonist during the Great Awakening of the 1740s. Yet Chauncy's fellow New Englanders knew that there was more to the man than that.
In the course of his 60-year tenure as a pastor of Boston's First Church (the "Old Brick"), Chauncy involved himself in most of the important intellectual, religious, and political issues of the century. Not only did he aggressively oppose the emotional revivalism of the Great Awakening, but he was also a bold pamphleteer and preacher in support of the American Revolution. In theology Chauncy became, as an old man, the leading advocate probably having scandalized his own forebears, but he insisted that he was true to his Protestant tradition and never abandoned his reliance on Scripture and Puritan discipline in favor of rationalist secularism.
Old Brick,the first full-scale biography of Charles Chauncy, attempts to recover not only Chauncy the spokesman for the ideas of a great many colonial Americans, but also the complex man who struggled with himself and with the events of his time to arrive at those positions. The portrait of Chauncy that emerges is fuller, more comprehensive, and more balanced than the stereotypes and partial portraits that have thus far represented him in history. This biography now makes it possible to consider Chauncy a figure worthy of study in his own right and to take a fresh look at eighteenth-century New England in light of the tradition Chauncy represents.
The Book of Apollonius was first published in 1936. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
No other English translation of this famous thirteenth-century Spanish narrative poem is available, in either poetry or prose. The present translators have put it into a form that reproduces most faithfully the quaint and naïve quality of the original Libro de Apolonio, the story of which appears in Book Eight of John Gower's Confessio Amantis and in Shakespeare's Pericles.
The reader who is not a specialist in medieval or Spanish literature will find here a lush uncensored tale of mad adventure. If he will give himself up to the spell of its child-like spirit, he will find himself led on through such "faery lands forlorn" as the untrammeled imagination has immemorially loved to create. The story parades before him storms, shipwrecks, kidnappings, pirates, supposed deaths, miraculous escapes and survivals. Beginning in a theme that runs through dramatic literature from Oedipus Rex through The Cenci to The Barretts of Wimpole Street,the plot reveals the misfortunes that furiously pursue Apollonius, king of Tyre, after he tries to woo the daughter of King Antiochus away from her father. Forced to flee for his life, Apollonius plunges from adventure to adventure, until incredible reunions and transports of joy bring the tale to a conventional happy ending.
The translators' Introduction gives an account of the use of the Apollonius material in Old French, Provençal, Anglo-Saxon, German, and other literatures, as well as tracing the history of the poem from its source in a lost Greek romance.
A daring, deep investigation into ethnographic cinema that challenges standard ways of writing film history and breaks important new ground in understanding archives
Bad Film Histories is a vital work that unsettles the authority of the archive. Katherine Groo daringly takes readers to the margins of the film record, addressing the undertheorization of film history and offering a rigorous corrective. Taking ethnographic cinema as a crucial case study, Groo challenges standard ways of thinking and writing about film history and questions widespread assumptions about what film artifacts are and what makes them meaningful. Rather than filling holes, Groo endeavors to understand the imprecisions and absences that define film history and its archives.
Bad Film Histories draws on numerous works of ethnographic cinema, from Edward S. Curtis’s In the Land of the Head Hunters, to a Citroën-sponsored “croisière” across Africa, to the extensive archives of the Maison Lumière and the Musée Albert-Kahn, to dozens of expedition films from the 1910s and 1920s. The project is deeply grounded in poststructural approaches to history, and throughout Groo draws on these frameworks to offer innovative and accessible readings that explain ethnographic cinema’s destabilizing energies.
As Groo describes, ethnographic works are mostly untitled, unauthored, seemingly infinite in number, and largely unrestored even in their digital afterlives. Her examination of ethnographic cinema provides necessary new thought for both film scholars and those who are thrilled by cinema’s boundless possibilities. In so doing, she boldly reexamines what early ethnographic cinema is and how these films produce meaning, challenging the foundations of film history and prevailing approaches to the archive.
Over the past quarter century, dramatic technological advances in the production, manipulation, and dissemination of images have transformed the practices of journalism, entertainment, and advertising as well as the visual environment itself. From digital retouching to wholesale deception, the media world is now beset by an unprecedented range of moral, ethical, legal, and professional challenges. Image Ethics in the Digital Age brings together leading experts in the fields of journalism, media studies, and law to address these challenges and assess their implications for personal and societal values and behavior.
Among the issues raised are the threat to journalistic integrity posed by visual editing software; the monopolization of image archives by a handful of corporations and its impact on copyright and fair use laws; the instantaneous electronic distribution of images of dubious provenance around the world; the erosion of privacy and civility under the onslaught of sensationalistic twenty-four-hour television news coverage and entertainment programming; and the increasingly widespread use of surveillance cameras in public spaces. This volume of original essays is vital reading for anyone concerned with the influence of the mass media in the digital age.
Contributors: Howard S. Becker; Derek Bousé, Eastern Mediterranean U, Cyprus; Hart Cohen, U of Western Sydney; Jessica M. Fishman; Paul Frosh, Hebrew U of Jerusalem; Faye Ginsburg, New York U; Laura Grindstaff, U of California, Davis; Dianne Hagaman; Sheldon W. Halpern, Ohio State U; Darrell Y. Hamamoto, U of California, Davis; Marguerite Moritz, U of Colorado, Boulder; David D. Perlmutter, Louisiana State U; Dona Schwartz, U of Minnesota; Matthew Soar, Concordia University; Stephen E. Weil, Smithsonian Institution’s Center for Education and Museum Studies.
A collective memoir in poetry of an Ojibwe family and tribal community, from creation myth to this day, updated with new poems
Reaching from the moment of creation to the cry of a newborn, The Sky Watched gives poetic voice to Ojibwe family life. In English and Ojibwe, those assembled here—voices of history, of memory and experience, of children and elders, Indian boarding school students, tribal storytellers, and the Manidoog, the unseen beings who surround our lives—come together to create a collective memoir in poetry as expansive and particular as the starry sky.
This world unfolds in the manner of traditional Ojibwe storytelling, shaped by the seasons and the stages of life, marking the significance of the number four in the Ojibwe worldview. Summoning spiritual and natural lore, award-winning poet and scholar Linda LeGarde Grover follows the story of a family, a tribe, and a people through historical ruptures and through intimate troubles and joys—from the sundering of Ojibwe people from their land and culture to singular horrors like the massacre at Wounded Knee to personal trauma suffered at Indian boarding schools. Threaded throughout are the tribal traditions and knowledge that sustain a family and a people through hardship and turmoil, passed from generation to generation, coming together in the manifold power and beauty of the poet’s voice.
A fifty-year-old mystery converges with a present-day struggle over family, land, and history
When a rock is dislodged from its slope by mischievous ancestors, the past rises to meet the present, and Half-Dime Hill gives up a gruesome secret it has kept for half a century. Some people of Mozhay Point have theories about what happened; others know—and the discovery stirs memories long buried, reviving a terrible story yet to be told.
Returning to the fictional Ojibwe reservation in northern Minnesota she has so deftly mapped in her award-winning books, Linda LeGarde Grover reveals traumas old and new as Margie Robineau, in the midst of a fight to keep her family’s long-held allotment land, uncovers events connected to a long-ago escape plan across the Canadian border, and the burial—at once figurative and painfully real—of not one crime but two. While Margie is piecing the facts together, Dale Ann is confronted by her own long-held secrets and the truth that the long ago and the now, the vital and the departed are all indelibly linked, no matter how much we try to forget.
As the past returns to haunt those involved, Margie prepares her statement for the tribal government, defending her family’s land from a casino development and sorting the truths of Half-Dime Hill from the facts that remain there. Throughout the narrative, a chorus of spirit women gather in lawn chairs with coffee and cookies to reminisce, reflect, and speculate, spinning the threads of family, myth, history, and humor—much as Grover spins another tale of Mozhay Point, weaving together an intimate and complex novel of a place and its people.
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Sovereigns, Quasi Sovereigns, and Africans was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In this trenchant critique, Siba N'Zatioula Grovogui demonstrates the failure of international law to address adequately the issues surrounding African self-determination during decolonization. Challenging the view that the only requirement for decolonization is the elimination of the legal instruments that provided for direct foreign rule, Sovereigns, Quasi Sovereigns, and Africans probes the universal claims of international law.
Grovogui begins by documenting the creation of the "image of Africa" in European popular culture, examining its construction by conquerors and explorers, scientists and social scientists, and the Catholic Church. Using the case of Namibia to illuminate the general context of Africa, he demonstrates that the principles and rules recognized in international law today are not universal, but instead reflect relations of power and the historical dominance of specific European states.
Grovogui argues that two important factors have undermined the universal applicability of international law: its dependence on Western culture and the way that international law has been structured to preserve Western hegemony in the international order. This dependence on Europeandominated models and legal apparatus has resulted in the paradox that only rights sanctioned by the former colonial powers have been accorded to the colonized, regardless of the latter's needs. In the case of Namibia, Grovogui focuses on the discursive strategies used by the West and their southern African allies to control the legal debate, as well as the tactics used by the colonized to recast the terms of the discussion.
Grovogui blends critical legal theory, historical research, political economy, and cultural studies with profound knowledge of contemporary Africa in general and Namibia in particular. Sovereigns, Quasi Sovereigns, and Africans represents the very best of the new scholarship, moving beyond narrow disciplinary boundaries to illuminate issues of decolonization in Africa.
Siba N'Zatioula Grovogui is assistant professor of political science at Johns Hopkins University. He previously practiced law in his native Guinea.
Geometry and Chronometry in Philosophical Perspective was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In this volume Professor Grünbaum substantially extends and comments upon his essay "Geometry, Chronometry, and Empiricism," which was first published in Volume III of the Minnesota Studies in the Philosophy of Science. Commenting on the essay when it first appeared J. J. C. Smart wrote in Mind (England): "In my opinion Adolf Grünbaum's paper ... supersedes nearly all that has been written on the logical status of physical geometry and chronometry." The full text of the essay is given here with the author's extension of it and his discussion of some of the critical comment it has evoked, particularly, a critique published by Hilary Putnam.
Adolph Grünbaum is Andrew Mellon Professor of Philosophy at the University of Pittsburgh and the current president of the Philosophy of Science Association.
What does feminism have to say to the Anthropocene? How does the concept of the Anthropocene impact feminism? This book is a daring and provocative response to the masculinist and techno-normative approach to the Anthropocene so often taken by technoscientists, artists, humanists, and social scientists. By coining and, for the first time, fully exploring the concept of “anthropocene feminism,” it highlights the alternatives feminism and queer theory can offer for thinking about the Anthropocene.
Feminist theory has long been concerned with the anthropogenic impact of humans, particularly men, on nature. Consequently, the contributors to this volume explore not only what current interest in the Anthropocene might mean for feminism but also what it is that feminist theory can contribute to technoscientific understandings of the Anthropocene. With essays from prominent environmental and feminist scholars on topics ranging from Hawaiian poetry to Foucault to shelled creatures to hypomodernity to posthuman feminism, this book highlights both why we need an anthropocene feminism and why thinking about the Anthropocene must come from feminism.
Contributors: Stacy Alaimo, U of Texas at Arlington; Rosi Braidotti, Utrecht U; Joshua Clover, U of California, Davis; Claire Colebrook, Pennsylvania State U; Dehlia Hannah, Arizona State U; Myra J. Hird, Queen’s U; Lynne Huffer, Emory U; Natalie Jeremijenko, New York U; Elizabeth A. Povinelli, Columbia U; Jill S. Schneiderman, Vassar College; Juliana Spahr, Mills College; Alexander Zahara, Queen’s U.
Investigating insecurity as the predominant logic of life in the present moment
Challenging several key concepts of the twenty-first century, including precarity, securitization, and resilience, this collection explores the concept of insecurity as a predominant logic governing recent cultural, economic, political, and social life in the West. The essays illuminate how attempts to make human and nonhuman systems secure and resilient end up having the opposite effect, making insecurity the default state of life today.
Unique in its wide disciplinary breadth and variety of topics and methodological approaches—from intellectual history and cultural critique to case studies, qualitative ethnography, and personal narrative—Insecurity is written predominantly from the viewpoint of the United States. The contributors’ analyses include the securitization of nongovernmental aid to Palestine, Bangladeshi climate refugees, and the privatization of U.S. military forces; the history of the concept of insecurity and the securitization of finance; racialized urban development in Augusta, Georgia; Amazon’s Mechanical Turk and the consequences of the Marie Kondo method; and the intricate politics of sexual harassment in the U.S. academy.
Contributors: Neel Ahuja, U of California, Santa Cruz; Aneesh Aneesh, U of Wisconsin, Milwaukee; Lisa Bhungalia, Kent State U; Jennifer Doyle, U of California, Riverside; Annie McClanahan, U of California, Irvine; Andrea Miller, Florida Atlantic U; Mark Neocleous, Brunel U London; A. Naomi Paik, U of Illinois, Chicago; Maureen Ryan, U of South Carolina; Saskia Sassen, Columbia U.
Edited by Richard Grusin of the Center for 21st Century Studies, this is the first book to name and characterize—and therefore consolidate—a wide array of current critical, theoretical, and philosophical approaches to the humanities and social sciences under the concept of the nonhuman turn. Each of these approaches is engaged in decentering the human in favor of a concern for the nonhuman, understood by contributors in a variety of ways—in terms of animals, affectivity, bodies, materiality, technologies, and organic and geophysical systems.
The nonhuman turn in twenty-first-century studies can be traced to multiple intellectual and theoretical developments from the last decades of the twentieth century: actor-network theory, affect theory, animal studies, assemblage theory, cognitive sciences, new materialism, new media theory, speculative realism, and systems theory. Such varied analytical and theoretical formations obviously diverge and disagree in many of their assumptions, objects, and methodologies. However, they all take up aspects of the nonhuman as critical to the future of twenty-first-century studies in the arts, humanities, and social sciences.
Unlike the posthuman turn, the nonhuman turn does not make a claim about teleology or progress in which we begin with the human and see a transformation from the human to the posthuman. Rather, the nonhuman turn insists (paraphrasing Bruno Latour) that “we have never been human,” that the human has always coevolved, coexisted, or collaborated with the nonhuman—and that the human is identified precisely by this indistinction from the nonhuman.
Contributors: Jane Bennett, Johns Hopkins U; Ian Bogost, Georgia Institute of Technology; Wendy Hui Kyong Chun, Brown U; Mark B. N. Hansen, Duke U; Erin Manning, Concordia U, Montreal; Brian Massumi, U of Montreal; Timothy Morton, Rice U; Steven Shaviro, Wayne State U; Rebekah Sheldon, Indiana U.
Sharply intelligent, often personal reflections on the global crises of 2020 that are still ongoing
By all accounts, 2020 was the longest year in recent memory, as people in the United States and across the globe careened from one unfolding catastrophe to another. The consequences of this devastating year are sure to impact the planet for decades, if not centuries, to come. This collection considers the question of that long 2020 from the perspective of the lived experience of the year, its long and deep roots in various human and nonhuman pasts, and the transformation of our sense of the future.
The Long 2020 assembles a strikingly interdisciplinary group of scholars and thinkers to address how the many crises of 2020—epidemiological, political, ecological, and social—have unfolded, examining both their origins as well as their ongoing effects. The contributors address questions of time, history, and scale as they have played out, and continue to play out; the relationship between home and environment, with a focus on architecture, breathing, and human–nonhuman relations; and the experience of cultural, political, and social life, deploying cultural and political theory to explore questions of race, gender and sexuality, and democracy.
The global pandemic has still not abated, reflecting the need to rethink our interrelatedness to viruses and other species. In bringing together this diverse group of authors, The Long 2020 offers a variety of perspectives on the impacts of that fraught year, the effects of which continue to permeate daily life.
Contributors: Stacy Alaimo, U of Oregon; Elisabeth Anker, George Washington U; Janelle Baker, Athabasca U, Alberta, Canada; Daniel A. Barber, U of Pennsylvania Weitzman School of Design; Adia Benton, Northwestern U; Levi R. Bryant, Collin College; Beatriz Colomina, Princeton U; William E. Connolly, Johns Hopkins U; Cary Gabriel Costello, U of Wisconsin–Milwaukee; Megan Craig, Stony Brook U; Wai Chee Dimock, Harvard U; Paulla Ebron, Stanford U; Nirmala Erevelles, U of Alabama; Roderick A. Ferguson, Yale U; Rosa E. Ficek, U of Puerto Rico at Cayey; Stefanie Fishel, U of the Sunshine Coast in Queensland; Jonathan Flatley, Wayne State U; Jennifer Gabrys, U of Cambridge; David Gissen, Parsons School of Design and the New School, New York; Dehlia Hannah, The Royal Danish Academy of Fine Arts; Karen Ho, U of Minnesota; Bonnie Honig, Brown U; Frédéric Keck, Laboratory of Social Anthropology (CNRS Paris); Eben Kirksey, Deakin Institute in Melbourne, Australia; Bernard C. Perley, U of British Columbia, Vancouver; Tom Rademacher; Renya Ramirez, U of California, Santa Cruz; Zoe Todd (Métis); Anna Tsing, U of California, Santa Cruz; Sarah E. Vaughn, U of California, Berkeley; Rebecca Wanzo, Washington U; McKenzie Wark, Eugene Lang College, New York City.
Where is censorship in the age of digital technology?
Not long ago it would have been an absurd idea to purchase a television, CD or MP3 or DVD player, computer software, or game console with the intention of limiting its capabilities. However, as Raiford Guins demonstrates in Edited Clean Version, today’s media technology is marketed and sold for what it does not contain and what it will not deliver.
TVs equipped with V-chips, Internet filters, editing DVD players, clean-version CDs and MP3s, and game consoles with parental control features can block out, monitor, disable, and filter information. As Guins argues in this provocative book, consumers now find themselves in new relationships with their everyday media in which they inscribe their viewing, listening, and playing experiences with self-prescribed and technologically enabled values and morals. Censorial practices are not so much enacted on media by regulatory bodies today as they are in our media technology.According to Guins, these new “control technologies” are designed to embody an ethos of neoliberal governance—through the very media that have been previously presumed to warrant management, legislation, and policing. Repositioned within a discourse of empowerment, security, and choice, the action of regulation, he reveals, has been relocated into the hands of users.A critique of what lies behind the use of data in contemporary education policy
While the science fiction tales of artificial intelligence eclipsing humanity are still very much fantasies, in Algorithms of Education the authors tell real stories of how algorithms and machines are transforming education governance, providing a fascinating discussion and critique of data and its role in education policy.
Algorithms of Education explores how, for policy makers, today’s ever-growing amount of data creates the illusion of greater control over the educational futures of students and the work of school leaders and teachers. In fact, the increased datafication of education, the authors argue, offers less and less control, as algorithms and artificial intelligence further abstract the educational experience and distance policy makers from teaching and learning. Focusing on the changing conditions for education policy and governance, Algorithms of Education proposes that schools and governments are increasingly turning to “synthetic governance”—a governance where what is human and machine becomes less clear—as a strategy for optimizing education.
Exploring case studies of data infrastructures, facial recognition, and the growing use of data science in education, Algorithms of Education draws on a wide variety of fields—from critical theory and media studies to science and technology studies and education policy studies—mapping the political and methodological directions for engaging with datafication and artificial intelligence in education governance. According to the authors, we must go beyond the debates that separate humans and machines in order to develop new strategies for, and a new politics of, education.
The Mammals of Minnesota was first published in 1953. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
For the many Minnesotans interested in the wildlife of their state and for anyone with a special interest in the fur or game animals or in the control of harmful species, this is a practical source of information. Schools will find the book useful in teaching natural history. All the mammal species identified within Minnesota are described, and keys to the classification are given, with careful instructions on how to use the keys. Step- by step directions include photographs of animals, diagrams of the methods described, and 70 maps showing the geographical distribution of species. The material is based primarily on the collections in the Museum of Natural history and the Division of Entomology and Economic Zoology at the University of Minnesota.
Fixin' Fish was first published in 1984. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Whether you catch it yourself or buy it, fish can be a delicious, nutritious meal or an experience you'd rather forget. Because fish are delicate and perishable, preserving their fresh-caught flavor requires careful handling. Fixin' Fish provides anglers and fish buyers with helpful techniques, not covered in most cookbooks, for handling, cleaning, preserving, preparing, and buying fish of all kinds. Topics covered include: maintaining the quality of fresh fish, building a smokehouse, smoking, canning, pickling, making fish jerky and caviar, and checking fish for parasites. Sport fishermen will find the section on field dressing and packing especially useful.
Minnesota and neighboring states have an abundance of fish that are usually overlooked as a food source. These underutilized fish, which include suckers, eelpout (burbot), carp, bullheads, herring, and freshwater drum, can be delicious if handled and prepared properly. The special techniques described in this book will help anyone make good use of this inexpensive and tasty source of protein.
Fixin' Fish is published by the University of Minnesota Sea Grant Extension Program. This new edition updates the text and adds information on parasites that can be found on freshwater fish in the Minnesota region.
Language, Mind, and Knowledge was first published in 1975. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is Volume VII of the Minnesota Studies in the Philosophy of Science, a series published in cooperation with the Minnesota Center for Philosophy of Science at the University of Minnesota and edited by Herbert Feigl and Grover Maxwell. Professor Maxwell is the present director of the Center. Some of the papers in this volume were presented at or grew out of a conference on the philosophy of language which was held at the Center under the direction of Professor Gunderson. Others were written independently.
The aim of the book, like that of the conference, is to assemble a wide variety of approaches to issues in the philosophy of language with emphasis on the ways in which the issues involved have bearing on other matters such as linguistic theory, cognitive psychology, the philosophy of mind, and epistemology.
There are twelve papers by eleven contributors: "Languages and Language" by David Lewis; "Logic and Language: An Examination of Recent Criticisms of Internationalism" by Jerrold J. Katz; "The Meaning of 'Meaning'" by Hilary Putnam; "Reference and Context" by Charles Chastain; "Language, Thought, and Communication" by Gilbert Harman; "Knowledge of Language" by Noam Chomsky; "Language, Rules, and Complex Behavior" by Michael D. Root; "A Taxonomy of Illocutionary Acts" by John R. Searle; "On What We Know" by Zeno Vendler; "Vendler on Knowledge and Belief" by Bruce Aune; "Reply to Professor Aune" by Zeno Vendler; "Brain Writing and Mind Reading" by D.C. Dennett.
Mentality and Machines was first published in 1985. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Mentality and Machines — with a new preface and an extended postscript—is a general essay on the philosophy of mind, oriented to philosophical and psychological questions about real as well as imagined, robots and machines. The second edition retains all of the essays from the original book, including Gunderson's influential critique ("The Imitation Game") of A.M. Turing's treatment of the question "Can machines think?" and his controversial distinction between program-receptive and program-resistant aspects of the mind. This edition's postscript includes further reflections on these themes and others, and relates them to recent writings of other philosophers and computer scientists.
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