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A long-awaited reevaluation of Chaucer through the lens of sacrifice by a major figure in medieval studies

Historicism and its discontents have long been central to the work of Louise Fradenburg, one of the world’s most original and provocative literary medievalists. Sacrifice Your Love brings this interest to bear on Chaucer’s writing and his world, rethought in light of a theory of sacrifice and its part in cultural production. Fradenburg writes the "history of the signifier"—a way of reading change in the symbolic order—and its role in making sacrifice enjoyable.

From the 1940s to the 1970s, homosexual men in Italy began to express themselves authentically after years of silence under Fascist repression. In Scandalous Practices, Alessio Ponzio deftly recounts the socio-cultural shifts that occurred for queer Italians during this period.

In tabloids and other publications, journalists sensationalized same-sex male prostitution, dramatized scandalous homosexual murders, and portrayed homosexuality as devious, dangerous, and threatening to the “new” post-war masculinity. Homosexual Italians responded to this public shaming and these negative stereotypes through resistance. As part of an ongoing struggle for gender and sexual equality, they established networks and created public discussions that engendered pride, rights awareness, and a political commitment to emancipation.

Ponzio meticulously details how Italy as a nation and culture dealt with emerging representation of queer sexuality through a reinvention that fomented self-understanding and self-representations. Instead of marginalizing it, the popular media unintentionally made homosexuality understandable to many who did not know what it was or could not make sense of their own desires. Scandalous Practices illustrates how this new sexual knowledge spread publicly across social classes and fostered the development of positive queer identities and communities.

In the series Sexuality Studies

Roscoe A. was eight years old when psychologist Eric Bermann first met him and his family. In kindergarten, Roscoe was considered highly creative, but his teachers also evaluated him as a potentially dangerous and destructive child capable of uncontrolled aggression toward other children. His parents denied the report. To them, Roscoe was a quiet, well-behaved boy. 

In the second grade, over the objections and confusion of his parents, Roscoe was finally removed from public school and admitted to a day treatment facility where he could receive psychotherapy. Progress was minimal. After a year of effort, there was still no agreement on "Roscoe's problems." Mental health professionals despaired. They deemed his parents "unworkable" and labeled them "deniers" of their son's destructive behaviors. In turn, the parents blamed the professionals for therapeutic incompetencies and failure to help Roscoe, who, after all, "was never a problem at home." 

The only alternative to terminating the therapeutic effort was to obtain new data and fresh insights into the dilemma. It was at this point that Dr. Bermann, a clinical researcher embarked on the study of family interaction, was consulted. He immediately arranged to visit them at home, where he could observe their interactions in situ. He hoped that, with them, he might shed some light on the discrepancy between reports of Roscoe's behavior. 

Dr. Bermann visited the family and recorded his observations regularly and in detail throughout the next year. His analysis of these observations has resulted in this startling book--a research account that is both stunning in the originality of its method and searing in its documentation of an American family in crisis.

Makes the case for close readings of small scenes appearing in works of literature, scholarship, film, and visual art, showing how close attention to details can reveal the meaningful sociological action that often occurs on the margins.

Why do certain images, stories, and scenes impress upon us so strongly, inviting us to linger over the nuances of their meaning? In Scenes and Their Senses, sociologist Robin Wagner-Pacifici seeks to uncover the deeper meaning behind twenty “scenes” that have captured her theoretical imagination over her lifetime. Some of these come from classics of sociological theory or literature—Geertz, Habermas, Lévi-Strauss, Zola—and some are more contemporary, including the films Good Will Hunting and Luis Buñuel’s The Phantom ofLiberty. She seeks here to understand each scene less as examples of a given condition or conundrum and more as worlds in themselves.

As Wagner-Pacifici shows, close attention to the forms and flows of these minor, often quiet scenes reveals how meaningful action occurs in what might appear to be the margins or interstices of the bigger, noisier story being told. Providing an entry point to larger social conditions, relations, and change, the scenes analyzed here evoke sociological themes of belonging and exile, strength and weakness, cleanliness and pollution, reality and fantasy, courage and cowardice, and vision and obscurity, among others. As an ethnography of texts recalled from previous readings and revisited by the author, the scenes highlight the role of memory in sense-making. Furthermore, the activation of the scenes as a focused point of sustained contemplation functions as a remarkable bridge between method and theory.

Sculpting the Self addresses “what it means to be human” in a secular, post-Enlightenment world by exploring notions of self and subjectivity in Islamic and non-Islamic philosophical and mystical thought. Alongside detailed analyses of three major Islamic thinkers (Mullā Ṣadrā, Shāh Walī Allāh, and Muhammad Iqbal), this study also situates their writings on selfhood within the wider constellation of related discussions in late modern and contemporary thought, engaging the seminal theoretical insights on the self by William James, Jean-Paul Sartre, and Michel Foucault. This allows the book to develop its inquiry within a spectrum theory of selfhood, incorporating bio-physiological, socio-cultural, and ethico-spiritual modes of discourse and meaning-construction. Weaving together insights from several disciplines such as religious studies, philosophy, anthropology, critical theory, and neuroscience, and arguing against views that narrowly restrict the self to a set of cognitive functions and abilities, this study proposes a multidimensional account of the self that offers new options for addressing central issues in the contemporary world, including spirituality, human flourishing, and meaning in life.

This is the first book-length treatment of selfhood in Islamic thought that draws on a wealth of primary source texts in Arabic, Persian, Urdu, Greek, and others. Muhammad U. Faruque’s interdisciplinary approach makes a significant contribution in the growing field of cross-cultural dialogue, as it opens up the way for engaging premodern and modern Islamic sources from a contemporary perspective by going beyond the exegesis of historical materials. He initiates a critical conversation between new insights into human nature as developed in neuroscience and modern philosophical literature and millennia-old Islamic perspectives on the self, consciousness, and human flourishing as developed in Islamic philosophical, mystical, and literary traditions.

Theatermakers in the United States have long been drawn to madness as a source of dramatic spectacle. During the Broadway musical’s golden age in the mid-twentieth century, creative teams used the currently in-vogue psychoanalytic ideas about mental life to construct troubled characters at odds with themselves and their worlds. As the clinical and cultural profile of madness transformed over the twentieth century, musicals continued to delve into the experience of those living with mental pain, trauma, and unhappiness.

Seriously Mad offers a dynamic account of stage musicals’ engagement with historically significant theories about mental distress, illness, disability, and human variance in the United States. By exploring who is considered mad and what constitutes madness at different moments in U.S. history, Aleksei Grinenko shows how, in attempts to bring the musicals closer to highbrow sophistication, theater dramatized serious medical conditions and social problems. Among the many Broadway productions discussed are Next to Normal, A Strange Loop, Sweeney Todd, Man of La Mancha, Gypsy, Oklahoma!, and Lady in the Dark.

A profound exploration of the external influences that shape human consciousness, from healing rituals to digital devices

In this voyage through thousands of years of psychosomatic healing, distinguished anthropologist and sociologist Roger Bartra examines the placebo effect as a key to our understanding of human consciousness. Shamans and Robots demonstrates how biology and technology become intertwined within human culture by using the various histories of ritual and symbolic healing to speculate about future developments in artificial intelligence.

Charting the extensive history of the placebo effect through medieval healing, shamanism, and early psychoanalytic practices, Bartra posits that consciousness is not simply the province of the mind but something equally shaped by external systems and objects. He finds evidence of this “exocerebrum”—the extension of our brains outside the body—in the shamanistic concept of the placebo, in which external objects heal our bodies, and in modern technical devices like prostheses or robots, whose development of a mechanical consciousness would have to mimic, and in turn elucidate, the processes involved in the creation of consciousness in humans. Through this radical concept, he analyzes digital media’s relationship to the functions of the human brain and probes the possibility of artificial consciousness.

Both a look at the human body’s potential to restore itself and a profound reflection on the curative power of symbolic structures, Shamans and Robots explores how our technologies increasingly serve as extensions of our cognitive selves.

From a distance, Matthieu Chapman’s life and accomplishments serve as an example of racial progress in America: the first in his family to go to college, he earns two master’s degrees and a doctorate and then becomes a professor of theater. Despite his personal and academic success, however, the specter of antiblackness continues to haunt his every moment and interaction.

Told through fragments, facets, shards, slivers, splinters, and absences, Shattered places Chapman’s own story in dialogue with US history and structural analysis of race to relay the experience of being very alive in a demonstrably antiblack society—laying bare the impact of the American way on black bodies, black psyches, and black lives. From the Church of Jesus Christ of Latter-day Saints to the offices of higher education, from a Loyal White Knights flyer on his windshield to a play with black students written by a black playwright, Chapman’s life story embodies the resistance that occurs, the shattering, collapsing, and reconfiguring of being that happens in the collisions between conceptions of blackness. Shattered is a heartrending and thought-provoking challenge to narratives of racial progress and postracial America—an important reminder that systemic antiblack racism affects every black person regardless of what they achieve in spite of it.