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In 1979, toward the end of the Cold War era, Nicaragua's Sandinista movement emerged on the world stage claiming to represent a new form of socialism. Gendered Scenarios of Revolution is a historical ethnography of Sandinista state formation from the perspective of El Tule-a peasant village that was itself thrust onto a national and international stage as a "model" Sandinista community. This book follows the villagers´ story as they joined the Sandinista movement, performed revolution before a world audience, and grappled with the lessons of this experience in the neoliberal aftermath.

Employing an approach that combines political economy and cultural analysis, Montoya argues that the Sandinistas collapsed gender contradictions into class ones, and that as the Contra War exacerbated political and economic crises in the country, the Sandinistas increasingly ruled by mandate as vanguard party instead of creating the participatory democracy that they professed to work toward. In El Tule this meant that even though the Sandinistas created new roles and possibilities for women and men, over time they upheld pre-revolutionary patriarchal social structures. Yet in showing how the revolution created opportunities for Tuleños to assert their agency and advance their interests, even against the Sandinistas´ own interests, this book offers a reinterpretation of the revolution´s supposed failure.

Examining this community’s experience in the Sandinista and post-Sandinista periods offers perspective on both processes of revolutionary transformation and their legacies in the neoliberal era. Gendered Scenarios of Revolution will engage graduate and undergraduate students and scholars in anthropology, sociology, history, and women’s and gender studies, and appeal to anyone interested in modern revolution and its aftermath.

A term with myriad associations, revolution is commonly understood in its intellectual, historical, and sociopolitical contexts. Until now, almost no attention has been paid to revolution and questions of geography. Geography and Revolution examines the ways that place and space matter in a variety of revolutionary situations.

David N. Livingstone and Charles W. J. Withers assemble a set of essays that are themselves revolutionary in uncovering not only the geography of revolutions but the role of geography in revolutions. Here, scientific revolutions—Copernican, Newtonian, and Darwinian—ordinarily thought of as placeless, are revealed to be rooted in specific sites and spaces. Technical revolutions—the advent of print, time-keeping, and photography—emerge as inventions that transformed the world's order without homogenizing it. Political revolutions—in France, England, Germany, and the United States—are notable for their debates on the nature of political institutions and national identity.

Gathering insight from geographers, historians, and historians of science, Geography and Revolution is an invitation to take the where as seriously as the who and the when in examining the nature, shape, and location of revolutions.

". . . a great blow-by-blow account of an exciting and still-legendary scene."
---Marshall Crenshaw

From the early days of John Lee Hooker to the heyday of Motown and beyond, Detroit has enjoyed a long reputation as one of the crucibles of American pop music. In Grit, Noise, and Revolution, David Carson turns the spotlight on those hard-rocking, long-haired musicians-influenced by Detroit's R&B heritage-who ultimately helped change the face of rock 'n' roll.

Carson tells the story of some of the great garage-inspired, blue-collar Motor City rock 'n' roll bands that exemplified the Detroit rock sound: The MC5, Iggy Pop and the Stooges, Mitch Ryder and the Detroit Wheels, SRC, the Bob Seger System, Ted Nugent and the Amboy Dukes, and Grand Funk Railroad.

An indispensable guide for rock aficionados, Grit, Noise, and Revolution features stories of these groundbreaking groups and is the first book to survey Detroit music of the 1960s and 70s-a pivotal era in rock music history.

Writer, artist, filmmaker, provocateur, revolutionary, and impresario of the Situationist International, Guy Debord shunned the apparatus of publicity he dissected so brilliantly in his most influential work, The Society of the Spectacle. In this ambitious and innovative biography, Vincent Kaufmann places Debord's very hostility toward the inquisitive, biographical gaze at the center of an investigation into his subject's diverse output-from his earliest films to his landmark works of social theory and political provocation-and the poetic sensibility that informed both his work and his life.

Instead of providing a conventional day-to-day account of Debord's life, Kaufmann deftly locates his subject within the historical and intellectual context of the radical social, political, and artistic movements in which he participated. He traces Debord's development as an intellectual: his involvement with the lettrist movement in the early 1950s, his central role in the Situationist International from 1957 to 1971 and in the events of May 1968, and the productive and frequently misunderstood period between the dissolution of the situationists and his suicide, during which time Debord clarified the rules of his war against inauthenticity.

As Kaufmann makes clear, for Debord political thought and action were inseparable from aesthetics and poetic expression. Whether envisioning the recovery of a lost, protocommunist age of authenticity and transparency in The Society of the Spectacle or critically assessing the possibility of revolution against postmodern capitalism two decades later, Debord advocated and practiced an art of defiance, a concurrently martial and melancholic poetics. Avoiding the mythologies about Debord that both admirers and critics have cultivated, Kaufmann provides a groundbreaking and generous assessment of Debord and his uncompromising struggle against a corrupt civilization.