Delves deep into the archives that keep the history and work of AIDS activism alive
 

Serving as a vital supplement to the existing scholarship on AIDS activism of the 1980s and 1990s, ViralCultures is the first book to critically examine the archives that have helped preserve and create the legacy of those radical activities. Marika Cifor charts the efforts activists, archivists, and curators have made to document the work of AIDS activism in the United States and the infrastructure developed to maintain it, safeguarding the material for future generations to remember these social movements and to revitalize the epidemic’s past in order to remake the present and future of AIDS. 

Drawing on large institutional archives such as the New York Public Library, as well as those developed by small, community-based organizations, this work of archival ethnography details how contemporary activists, artists, and curators use these records to build on the cultural legacy of AIDS activism to challenge the conditions of injustice that continue to undergird current AIDS crises. Cifor analyzes the various power structures through which these archives are mediated, demonstrating how ideology shapes the nature of archival material and how it is accessed and used. Positioning vital nostalgia as both a critical faculty and a generative practice, this book explores the act of saving this activist past and reanimating it in the digital age. 

While many books, popular films, and major exhibitions have contributed to a necessary awareness of HIV and AIDS activism, Viral Cultures provides a crucial missing link by highlighting the powerful role of archives in making those cultural moments possible. 

"Long overdue . . . Hausman's focus on cultural representation rather than real mothers and practices is savvy and strategic in removing the debates from personal stories and investments to the ways in which this volatile topic becomes embedded in cultural values, language, and imagery."
---Alison Bartlett, University of Western Australia

Viral Mothers: Breastfeeding in the Age of HIV/AIDS addresses modern fears of dangerous motherhood, focusing on preoccupations with mothers' bodies as vectors for infection and contamination. The book examines how the maternal body is perceived as a conduit for disease, drugs, or contaminants that end up in the body of an innocent---and pure---infant. Paying special attention to HIV transmission through breastfeeding, Viral Mothers examines ideologies of maternal embodiment that influence public health protocols and mothers' behaviors worldwide.

The medical community has known since the late 1980s that HIV is passed through breast milk from infected mothers to their babies. In highly industrialized countries, HIV-positive mothers are advised not to breastfeed their babies, but in poor countries breastfeeding has continued to be a predominant and medically recommended practice as a partial solution to problems of infant health and welfare in resource-poor contexts. Now, in areas of high rates of HIV infection and high infant mortality, decisions concerning infant feeding are, literally, about life and death. Public health debates concerning breastfeeding and HIV transmission must consider both the mortality associated with not breastfeeding and the possibility of HIV infection from mother to child.

The transmission of HIV through breastfeeding is a medical and public health issue that touches on and augments contemporary concerns about bodies, germs, and the environment. These concerns affect all people around the globe as we struggle with the meanings of health, risk, and embodiment in modernity. Viral Mothers addresses and explores the dense cultural meanings evoked by mothers' postnatal transmission of HIV. In so doing, the book pays special attention to fears of contamination and contagion that emerge as consequences of a medicalizing modernity. The main themes of the book---risk, purity, denial, and choice---define the terms through which the viral mother is constituted in discourse and enacted publicly as a set of identifiable, culturally legible, concerns.

Bernice L. Hausman is Professor of English at Virginia Tech. She is also the author of Mother's Milk: Breastfeeding Controversies in American Culture.

Illustration: ©iStockphoto.com/timeless

How do we understand the lives of nonhuman animals and our relationship with and responsibilities to them? What are the artifacts or things that help configure such perceived responsibility? And what does it mean to practice conservation in the Anthropocene? Amy D. Propen seeks to answer these questions in Visualizing Posthuman Conservation in the Age of the Anthropocene, which brings a visual-material rhetorical approach into conversation with material feminisms and environmental humanities to describe how technologies, environments, bodies, and matter work together to shape and reshape how we coexist with our nonhuman kin.

Through case studies in which visual technologies and science play a prominent role in arguments to protect threatened marine species—from photographs showing the impact of ocean plastics on vulnerable sea birds, to debates about seismic testing and its impact on marine species, to maps created from GPS tracking projects—Propen advances a notion of posthuman environmental conservation that decenters the human enough to consider ideas about the material world from the vantage point of the nonhuman animal. In so bringing together work in environmental humanities, animal studies, human geography, and visual-material rhetoric, Propen further shows how interdisciplinary ways of knowing can further shape and illuminate our various lived and embodied experiences.
 

This volume presents in-depth and contextualized analyses of a wealth of visual materials. These documents provide viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics—to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power. These chapters are anchored in various theoretical and disciplinary points of departure, such as the history of collections and collecting, literary theory and criticism, the histories of science, art history and visual culture, word-and-image studies, as well as print culture and book illustration. Authors draw upon a wide range of visual material hitherto insufficiently explored and placed in context, in some cases hidden in museums and archives, or previously assessed only from a disciplinary standpoint that favored either the image or the text but not both in relation to each other. They include manuscript illuminations representing compilers and collections, frontispieces and other accompanying plates published in catalogues and museographies, astronomical diagrams, mixed pictographic-alphabetic accounting documents, Spanish baroque paintings, illustrative frontispieces or series inspired by or designed for single novels or anthologies, anatomical drawings featured in encyclopedic publications, visual patterns of volcanic formations, engravings representing the New World that accompany non-fictional travelogues, commonplace books that interlace text and images, and graphic satire. Geographically, the collection covers imperial centers (Great Britain, France, the Netherlands, and Spain), as well as their colonial periphery (New France; Mexico; Central America; South America, in particular Brazil; parts of Africa; and the island of Ceylon). Emblematic and thought-provoking, these images are only fragments of the multifaceted and comprehensive visual mosaic created during the early modern period, but their consideration has far reaching implications.