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In the space of barely more than five years, with the publication of four pathbreaking books, Slavoj Žižek has earned the reputation of being one of the most arresting, insightful, and scandalous thinkers in recent memory. Perhaps more than any other single author, his writings have constituted the most compelling evidence available for recognizing Jacques Lacan as the preemient philosopher of our time.

In Tarrying with the Negative, Žižek challenges the contemporary critique of ideology, and in doing so opens the way for a new understanding of social conflict, particularly the recent outbursts of nationalism and ethnic struggle. Are we, Žižek asks, confined to a postmodern universe in which truth is reduced to the contingent effect of various discursive practices and where our subjectivity is dispersed through a multitude of ideological positions? No is his answer, and the way out is a return to philosophy. This revisit to German Idealism allows Žižek to recast the critique of ideology as a tool for disclosing the dynamic of our society, a crucial aspect of which is the debate over nationalism, particularly as it has developed in the Balkans—Žižek's home. He brings the debate over nationalism into the sphere of contemporary cultural politics, breaking the impasse centered on nationalisms simultaneously fascistic and anticolonial aspirations. Provocatively, Žižek argues that what drives nationalistic and ethnic antagonism is a collectively driven refusal of our own enjoyment.

Using examples from popular culture and high theory to illuminate each other—opera, film noir, capitalist universalism, religious and ethnic fundamentalism—this work testifies to the fact that, far more radically than the postmodern sophists, Kant and Hegel are our contemporaries.

From the Copernican revolution of Immanuel Kant to the cognitive mapping of Fredric Jameson to the postcolonial politics of Gayatri Chakravorty Spivak, representation has been posed as both indispensable and impossible. In his pathbreaking work, The Abyss of Representation, George Hartley traces the development of this impossible necessity from its German Idealist roots through Marxist theories of postmodernism, arguing that in this period of skepticism and globalization we are still grappling with issues brought forth during the age of romanticism and revolution. Hartley shows how the modern problem of representation—the inability of a figure to do justice to its object—still haunts today's postmodern philosophy and politics. He reveals the ways the sublime abyss that opened up in Idealist epistemology and aesthetics resurfaces in recent theories of ideology and subjectivity.

Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism.

A major literary event, the publication of this masterly translation makes one of the towering works of twentieth-century German literature available to English-speaking readers for the first time. The three-volume novel The Aesthetics of Resistance is the crowning achievement of Peter Weiss, the internationally renowned dramatist best known for his play Marat/Sade. The first volume, presented here, was initially published in Germany in 1975; the third and final volume appeared in 1981, just six months before Weiss’s death.

Spanning the period from the late 1930s to World War II, this historical novel dramatizes antifascist resistance and the rise and fall of proletarian political parties in Europe. Living in Berlin in 1937, the unnamed narrator and his peers—sixteen- and seventeen-year-old working-class students—seek ways to express their hatred for the Nazi regime. They meet in museums and galleries, and in their discussions they explore the affinity between political resistance and art, the connection at the heart of Weiss’s novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The novel includes extended meditations on paintings, sculpture, and literature. Moving from the Berlin underground to the front lines of the Spanish Civil War and on to other parts of Europe, the story teems with characters, almost all of whom are based on historical figures. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.

In The Body in Late-Capitalist USA, Donald M. Lowe explores the varied social practices that code and construct the body. Arguing that our bodily lives are shaped by a complex of daily and ongoing practices—how we work, what we buy and consume—Lowe contends that as a result of the commodification of these and other social practices in the late-twentieth century, what we often understand to be the needs of the body are in fact means for capital accumulation.

Moving beyond studies of representations and images of the body, Lowe focuses on the intersection of body practices, language, and the Social to describe concretely the reality of a lived body. His strongly synthetic work brings together Marxist critique, semiotics, Foucaultian discourse analysis, and systems and communications theory to examine those practices that construct the body under late capitalism: habits of work and consumption, the ways we give birth and raise children, socialization, mental and physical healing, reconstructions and contestations of sexuality and gender. Lowe draws upon a wide range of sources, including government and labor studies and statistics, diagnostic and statistical manuals on mental illness, computer manuals, self-help books, and guides to work-related stress disorders, to illustrate the transformation of the body into a nexus of exchange value in postmodern society.

The Italian art cinema of the 1960s is known worldwide for its brilliance and vitality. Yet rarely has this cinema been considered in relation to the profound economic and cultural changes that transformed Italy during the sixties—described as the “economic miracle.” Angelo Restivo argues for a completely new understanding of that cinema as a negotiation between a national aesthetic tradition of realism and a nascent postmodern image culture.

Restivo studies numerous films of the period, focusing mainly on the works of Pier Paolo Pasolini and Michelangelo Antonioni. He finds that these auteurs’ films reworked the neorealist aesthetic developed in the 1940s and 1950s, explored issues brought to the fore by the subsequent consumer boom, and presaged developments central to both critical theory and the visual arts in the 1980s and 1990s. Drawing on the theories of Lacan, Zizek, Benjamin, Foucault, Jameson, and Deleuze, he shines new light on such films as Pasolini’s Accattone and Teorema, and Antonioni’s Red Desert and Blow-Up. Restivo’s model for understanding the relationship of the 1960s Italian art film to its cultural contexts also has implications that extend to the developing national cinemas of countries such as Brazil and Taiwan.

The Cinema of Economic Miracles will interest scholars and students in all areas of film studies, especially those studying theories of the image, national cinema theory, and Italian cinema, and to those engaged in poststructuralist theory, philosophy, and comparative literature.

What is an author? What is a text? At a time when the definition of "text" is expanding and the technology whereby texts are produced and disseminated is changing at an explosive rate, the ways "authorship" is defined and rights conferred upon authors must also be reconsidered. This volume argues that contemporary copyright law, rooted as it is in a nineteenth-century Romantic understanding of the author as a solitary creative genius, may be inapposite to the realities of cultural production. Drawing together distinguished scholars from literature, law, and the social sciences, the volume explores the social and cultural construction of authorship as a step toward redefining notions of authorship and copyright for today's world.
These essays, illustrating cultural studies in action, are aggressively interdisciplinary and wide-ranging in topic and approach. Questions of collective and collaborative authorship in both contemporary and early modern contexts are addressed. Other topics include moral theory and authorship; copyright and the balance between competing interests of authors and the public; problems of international copyright; musical sampling and its impact on "fair use" doctrine; cinematic authorship; quotation and libel; alternative views of authorship as exemplified by nineteenth-century women's clubs and by the Renaissance commonplace book; authorship in relation to broadcast media and to the teaching of writing; and the material dimension of authorship as demonstrated by Milton's publishing contract.

Contributors. Rosemary J. Coombe, Margreta de Grazia, Marvin D'Lugo, John Feather, N. N. Feltes, Ann Ruggles Gere, Peter Jaszi, Gerhard Joseph, Peter Lindenbaum, Andrea A. Lunsford and Lisa Ede, Jeffrey A. Masten, Thomas Pfau, Monroe E. Price and Malla Pollack, Mark Rose, Marlon B. Ross, David Sanjek, Thomas Streeter, Jim Swan, Max W. Thomas, Martha Woodmansee, Alfred C. Yen

Logos, trademarks, national insignia, brand names, celebrity images, design patents, and advertising texts are vibrant signs in a consumer culture governed by a regime of intellectual property laws. In The Cultural Life of Intellectual Properties, professor of law and cultural anthropologist Rosemary J. Coombe brings an illuminating ethnographic approach to an analysis of authorship and the role law plays in shaping the various meanings that animate these protected properties in the public sphere.
Although such artifacts are ubiquitous in contemporary culture, little attention has been paid to the impact of intellectual property law in everyday life or to how ownership of specific intellectual properties is determined and exercised. Drawing on a wide range of cases, disputes, and local struggles, Coombe examines these issues and dismantles the legal assumption that the meaning and value of a text or image is produced exclusively by an individual author or that authorship has a single point of origin. In the process, she examines controversies that include the service of turbanned Sikhs in the Royal Canadian Mounted Police and the use of the term Olympic in reference to the proposed gay Olympic Games. Other chapters discuss the appropriation of such celebrity images as the Marx brothers, Judy Garland, Dolly Parton, James Dean, and Luke Skywalker; the conflict over team names such as the Washington Redskins; and the opposition of indigenous peoples to stereotypical Native American insignia proffered by the entertainment industry. Ultimately, she makes a case for redefining the political in commodified cultural environments.
Significant for its insights into the political significance of current intellectual property law, this book also provides new perspectives on debates in cultural anthropology, cultural studies, and political theory. It will therefore interest both a wide scholarly and a general audience.

A pervasive force that evades easy analysis, globalization has come to represent the export and import of culture, the speed and intensity of which has increased to unprecedented levels in recent years. The Cultures of Globalization presents an international panel of intellectuals who consider the process of globalization as it concerns the transformation of the economic into the cultural and vice versa; the rise of consumer culture around the world; the production and cancellation of forms of subjectivity; and the challenges it presents to national identity, local culture, and traditional forms of everyday life.
Discussing overlapping themes of transnational consequence, the contributors to this volume describe how the global character of technology, communication networks, consumer culture, intellectual discourse, the arts, and mass entertainment have all been affected by recent worldwide trends. Appropriate to such diversity of material, the authors approach their topics from a variety of theoretical perspectives, including those of linguistics, sociology, economics, anthropology, and the law. Essays examine such topics as free trade, capitalism, the North and South, Eurocentrism, language migration, art and cinema, social fragmentation, sovereignty and nationhood, higher education, environmental justice, wealth and poverty, transnational corporations, and global culture. Bridging the spheres of economic, political, and cultural inquiry, The Cultures of Globalization offers crucial insights into many of the most significant changes occurring in today’s world.

Contributors. Noam Chomsky, Ioan Davies, Manthia Diawara, Enrique Dussel, David Harvey, Sherif Hetata, Fredric Jameson, Geeta Kapur, Liu Kang, Joan Martinez-Alier, Masao Miyoshi, Walter D. Mignolo, Alberto Moreiras, Paik Nak-chung, Leslie Sklair, Subramani, Barbara Trent

During the 1940s, in response to the charge that his writing was filled with violence, Richard Wright replied that the manner came from the matter, that the “relationship of the American Negro to the American scene [was] essentially violent,” and that he could deny neither the violence he had witnessed nor his own existence as a product of racial violence. Abdul R. JanMohamed provides extraordinary insight into Wright’s position in this first study to explain the fundamental ideological and political functions of the threat of lynching in Wright’s work and thought. JanMohamed argues that Wright’s oeuvre is a systematic and thorough investigation of what he calls the death-bound-subject, the subject who is formed from infancy onward by the imminent threat of death. He shows that with each successive work, Wright delved further into the question of how living under a constant menace of physical violence affected his protagonists and how they might “free” themselves by overcoming their fear of death and redeploying death as the ground for their struggle.

Drawing on psychoanalytic, Marxist, and phenomenological analyses, and on Orlando Patterson’s notion of social death, JanMohamed develops comprehensive, insightful, and original close readings of Wright’s major publications: his short-story collection Uncle Tom’s Children; his novels Native Son, The Outsider, Savage Holiday, and The Long Dream; and his autobiography Black Boy/American Hunger. The Death-Bound-Subject is a stunning reevaluation of the work of a major twentieth-century American writer, but it is also much more. In demonstrating how deeply the threat of death is involved in the formation of black subjectivity, JanMohamed develops a methodology for understanding the presence of the death-bound-subject in African American literature and culture from the earliest slave narratives forward.

Joining the current debates in American literary history, José David Saldívar offers a challenging new perspective on what constitutes not only the canon in American literature, but also the notion of America itself. His aim is the articulation of a fresh, transgeographical conception of American culture, one more responsive to the geographical ties and political crosscurrents of the hemisphere than to narrow national ideologies.

Saldívar pursues this goal through an array of oppositional critical and creative practices. He analyzes a range of North American writers of color (Rolando Hinojosa, Gloria Anzaldúa, Arturo Islas, Ntozake Shange, and others) and Latin American authors (José Martí, Roberto Fernández Retamar, Gabriel García Márquez, and others), whose work forms a radical critique of the dominant culture, its politics, and its restrictive modes of expression. By doing so, Saldívar opens the traditional American canon to a dialog with other voices, not just the voices of national minorities, but those of regional cultures different from the prevalent anglocentric model.
The Dialectics of Our America, in its project to expand the “canon” and define a pan-American literary tradition, will make a critical difference in ongoing attempts to reconceptualize American literary history.

The conditions for thinking about Latin America as a regional unit in transnational academic discourse have shifted over the past decades. In The Exhaustion of Difference Alberto Moreiras ponders the ramifications of this shift and draws on deconstruction, Marxian theory, philosophy, political economy, subaltern studies, literary criticism, and postcolonial studies to interrogate the minimal conditions for an effective critique of knowledge given the recent transformations of the contemporary world.

What, asks Moreiras, is the function of critical reason in the present moment? What is regionalistic knowledge in the face of globalization? Can regionalistic knowledge be an effective tool for a critique of contemporary reason? What is the specificity of Latin Americanist reflection and how is it situated to deal with these questions? Through examinations of critical regionalism, restitutional excess, the historical genealogy of Latin American subalternism, testimonio literature, and the cultural politics of magical realism, Moreiras argues that while cultural studies is increasingly institutionalized and in danger of reproducing the dominant ideologies of late capitalism, it is also ripe for giving way to projects of theoretical reformulation. Ultimately, he claims, critical reason must abandon its allegiance to aesthetic-historicist projects and the destructive binaries upon which all cultural theories of modernity have been constructed.

The Exhaustion of Difference makes a significant contribution to the rethinking of Latin American cultural studies.

The Expediency of Culture is a pioneering theorization of the changing role of culture in an increasingly globalized world. George Yúdice explores critically how groups ranging from indigenous activists to nation-states to nongovernmental organizations have all come to see culture as a valuable resource to be invested in, contested, and used for varied sociopolitical and economic ends. Through a dazzling series of illustrative studies, Yúdice challenges the Gramscian notion of cultural struggle for hegemony and instead develops an understanding of culture where cultural agency at every level is negotiated within globalized contexts dominated by the active management and administration of culture. He describes a world where “high” culture (such as the Guggenheim Museum in Bilbao, Spain) is a mode of urban development, rituals and everyday aesthetic practices are mobilized to promote tourism and the heritage industries, and mass culture industries comprise significant portions of a number of countries’ gross national products.

Yúdice contends that a new international division of cultural labor has emerged, combining local difference with transnational administration and investment. This does not mean that today’s increasingly transnational culture—exemplified by the entertainment industries and the so-called global civil society of nongovernmental organizations—is necessarily homogenized. He demonstrates that national and regional differences are still functional, shaping the meaning of phenomena from pop songs to antiracist activism. Yúdice considers a range of sites where identity politics and cultural agency are negotiated in the face of powerful transnational forces. He analyzes appropriations of American funk music as well as a citizen action initiative in Rio de Janeiro to show how global notions such as cultural difference are deployed within specific social fields. He provides a political and cultural economy of a vast and increasingly influential art event— insite a triennial festival extending from San Diego to Tijuana. He also reflects on the city of Miami as one of a number of transnational “cultural corridors” and on the uses of culture in an unstable world where censorship and terrorist acts interrupt the usual channels of capitalist and artistic flows.

Many critics consider The Initials of the Earth to be the quintessential novel of the Cuban Revolution and the finest work by the Cuban writer and filmmaker Jesús Díaz. Born in Havana in 1941, Díaz was a witness to the Revolution and ardent supporter of it until the last decade of his life. In 1992 he took up residence as an exile in Berlin and later in Madrid, where he died in 2002. This is the first of his books to be translated into English.

Originally written in the 1970s, then rewritten and published simultaneously in Havana and Madrid in 1987, The Initials of the Earth spans the tumultuous years from the 1950s until the 1970s, encompassing the Revolution and its immediate aftermath. The novel opens as the protagonist, Carlos Pérez Cifredo, sits down to fill out a questionnaire for readmission to the Cuban Communist Party. It closes with Carlos standing before a panel of Party members charged with assessing his merit as an “exemplary worker.” The chapters between relate Carlos’s experiences of the pre- and postrevolutionary era. His family is torn apart as some members reject the Revolution and flee the country while others, including Carlos, choose to stay. He witnesses key events including the Bay of Pigs invasion, the Cuban missile crisis, and the economically disastrous sugar harvest of 1970. Throughout the novel, Díaz vividly renders Cuban culture through humor, slogans, and slang; Afro-Cuban religion; and references to popular music, movies, and comics.

This edition of The Initials of the Earth includes a bibliography and filmography of Diaz’s works and a timeline of the major events of the Cuban revolutionary period. In his epilogue, the Cuban writer Ambrosio Fornet reflects on Díaz’s surprising 1992 renunciation of the Revolution, their decades-long friendship, and the novel’s reception, structure, and place within Cuban literary history.

Nelly Richard is one of the most prominent cultural theorists writing in Latin America today. As a participant in Chile’s neo-avantgarde, Richard worked to expand the possibilities for cultural debate within the constraints imposed by the Pinochet dictatorship (1973–1990), and she has continued to offer incisive commentary about the country’s transition to democracy. Well known as the founder and director of the influential journal Revista de crítica cultural, based in Santiago, Richard has been central to the dissemination throughout Latin America of work by key contemporary thinkers, including Néstor García Canclini, Jacques Derrida, Fredric Jameson, and Diamela Eltit. Her own writing provides rigorous considerations of Latin American identity, postmodernism, gender, neoliberalism, and strategies of political and cultural resistance.

In The Insubordination of Signs Richard theorizes the cultural reactions—particularly within the realms of visual arts, literature, and the social sciences—to the oppression of the Chilean dictatorship. She reflects on the role of memory in the historical shadow of the military regime and on the strategies offered by marginal discourses for critiquing institutional systems of power. She considers the importance of Walter Benjamin for the theoretical self-understanding of the Latin American intellectual left, and she offers revisionary interpretations of the Chilean neo-avantgarde in terms of its relationships with the traditional left and postmodernism. Exploring the gap between Chile’s new left social sciences and its “new scene” aesthetic and critical practices, Richard discusses how, with the return of democracy, the energies that had set in motion the democratizing process seemed to exhaust themselves as cultural debate was attenuated in order to reduce any risk of a return to authoritarianism.

Imagine Fredric Jameson—the world’s foremost Marxist critic—kidnapped and taken on a joyride through the cultural ephemera, generational hype, and Cold War fallout of our post-post-contemporary landscape. In The Jamesonian Unconscious, a book as joyful as it is critical and insightful, Clint Burnham devises unexpected encounters between Jameson and alternative rock groups, new movies, and subcultures. At the same time, Burnham offers an extraordinary analysis of Jameson’s work and career that refines and extends his most important themes.
In an unusual biographical move, Burnham negotiates Jameson’s major works—including Marxism and Form, The Political Unconscious, and Postmodernism, or, The Cultural Logic of Late Capitalism—by way of his own working-class, queer-ish, Gen-X background and sensibility. Thus Burnham’s study draws upon an immense range of references familiar to the MTV generation, including Reservoir Dogs, theorists Slavoj Zizek and Pierre Bourdieu, The Satanic Verses, Language poetry, the collapse of state communism in Eastern Europe, and the indie band Killdozer. In the process, Burnham addresses such Jamesonian questions as how to imagine the future, the role of utopianism in capitalist culture, and the continuing relevance of Marxist theory.
Through its redefinition of Jameson’s work and compelling reading of the political present, The Jamesonian Unconscious defines the leading edge of Marxist theory. Written in a style by turns conversational, playful, and academic, this book will appeal to students and scholars of Marxism, critical theory, aesthetics, narratology, and cultural studies, as well as the wide circle of readers who have felt and understood Jameson’s influence.

This collection of essays argues that any valid theory of the modern should—indeed must—reckon with the medieval. Offering a much-needed correction to theorists such as Hans Blumenberg, who in his Legitimacy of the Modern Age describes the "modern age" as a complete departure from the Middle Ages, these essays forcefully show that thinkers from Adorno to Žižek have repeatedly drawn from medieval sources to theorize modernity. To forget the medieval, or to discount its continued effect on contemporary thought, is to neglect the responsibilities of periodization.

In The Legitimacy of the Middle Ages, modernists and medievalists, as well as scholars specializing in eighteenth-, nineteenth-, and twentieth-century comparative literature, offer a new history of theory and philosophy through essays on secularization and periodization, Marx’s (medieval) theory of commodity fetishism, Heidegger’s scholasticism, and Adorno’s nominalist aesthetics. One essay illustrates the workings of medieval mysticism in the writing of Freud’s most famous patient, Daniel Paul Schreber, author of Memoirs of My Nervous Illness (1903). Another looks at Michael Hardt and Antonio Negri’s Empire, a theoretical synthesis whose conscientious medievalism was the subject of much polemic in the post-9/11 era, a time in which premodernity itself was perceived as a threat to western values. The collection concludes with an afterword by Fredric Jameson, a theorist of postmodernism who has engaged with the medieval throughout his career.

Contributors: Charles D. Blanton, Andrew Cole, Kathleen Davis, Michael Hardt, Bruce Holsinger, Fredric Jameson, Ethan Knapp, Erin Labbie, Jed Rasula, D. Vance Smith, Michael Uebel

Global in scope, but refusing a familiar totalizing theoretical framework, the essays in The Politics of Culture in the Shadow of Capital demonstrate how localized and resistant social practices—including anticolonial and feminist struggles, peasant revolts, labor organizing, and various cultural movements—challenge contemporary capitalism as a highly differentiated mode of production.
Reworking Marxist critique, these essays on Asia, Latin America, the Caribbean, North America, and Europe advance a new understanding of "cultural politics" within the context of transnational neocolonial capitalism. This perspective contributes to an overall critique of traditional approaches to modernity, development, and linear liberal narratives of culture, history, and democratic institutions. It also frames a set of alternative social practices that allows for connections to be made between feminist politics among immigrant women in Britain, women of color in the United States, and Muslim women in Iran, Egypt, Pakistan, and Canada; the work of subaltern studies in India, the Philippines, and Mexico; and antiracist social movements in North and South America, the Caribbean, and Europe. These connections displace modes of opposition traditionally defined in relation to the modern state and enable a rethinking of political practice in the era of global capitalism.

Contributors. Tani E. Barlow, Nandi Bhatia, Dipesh Chakrabarty, Chungmoo Choi, Clara Connolly, Angela Davis, Arturo Escobar, Grant Farred, Homa Hoodfar, Reynaldo C. Ileto, George Lipsitz, David Lloyd, Lisa Lowe, Martin F. Manalansan IV, Aihwa Ong, Pragna Patel, José Rabasa, Maria Josefina Saldaña-Portillo, Jaqueline Urla

Controversy over what role “the great books” should play in college curricula and questions about who defines “the literary canon” are at the forefront of debates in higher education. The Politics of Liberal Education enters this discussion with a sophisticated defense of educational reform in response to attacks by academic traditionalists. The authors here—themselves distinguished scholars and educators—share the belief that American schools, colleges, and universities can do a far better job of educating the nation’s increasingly diverse population and that the liberal arts must play a central role in providing students with the resources they need to meet the challenges of a rapidly changing world.
Within this area of consensus, however, the contributors display a wide range of approaches, illuminating the issues from the perspectives of their particular disciplines—classics, education, English, history, and philosophy, among others—and their individual experiences as teachers. Among the topics they discuss are canon-formation in the ancient world, the idea of a “common culture,” and the educational implications of such social movements as feminism, technological changes including computers and television, and intellectual developments such as “theory.” Readers interested in the controversies over American education will find this volume an informed alternative to sensationalized treatments of these issues.

Contributors. Stanley Fish, Phyllis Franklin, Henry Louis Gates Jr., Henry A. Giroux, Darryl J. Gless, Gerald Graff, Barbara Herrnstein Smith, George A. Kennedy, Bruce Kuklick, Richard A. Lanham, Elizabeth Kamarck Minnich, Alexander Nehamas, Mary Louise Pratt, Richard Rorty, Eve Kosofsky Sedgwick

In this second edition of The Repeating Island, Antonio Benítez-Rojo, a master of the historical novel, short story, and critical essay, continues to confront the legacy and myths of colonialism. This co-winner of the 1993 MLA Katherine Singer Kovacs Prize has been expanded to include three entirely new chapters that add a Lacanian perspective and a view of the carnivalesque to an already brilliant interpretive study of Caribbean culture. As he did in the first edition, Benítez-Rojo redefines the Caribbean by drawing on history, economics, sociology, cultural anthropology, psychoanalysis, literary theory, and nonlinear mathematics. His point of departure is chaos theory, which holds that order and disorder are not the antithesis of each other in nature but function as mutually generative phenomena. Benítez-Rojo argues that within the apparent disorder of the Caribbean—the area’s discontinuous landmasses, its different colonial histories, ethnic groups, languages, traditions, and politics—there emerges an “island” of paradoxes that repeats itself and gives shape to an unexpected and complex sociocultural archipelago. Benítez-Rojo illustrates this unique form of identity with powerful readings of texts by Las Casas, Guillén, Carpentier, García Márquez, Walcott, Harris, Buitrago, and Rodríguez Juliá.

Although long considered the most distinctive American contribution to philosophy, pragmatism—with its problem-solving emphasis and its contingent view of truth—lost popularity in mid-century after the advent of World War II, the horror of the Holocaust, and the dawning of the Cold War. Since the 1960s, however, pragmatism in many guises has again gained prominence, finding congenial places to flourish within growing intellectual movements. This volume of new essays brings together leading philosophers, historians, legal scholars, social thinkers, and literary critics to examine the far-reaching effects of this revival.
As the twenty-five intellectuals who take part in this discussion show, pragmatism has become a complex terrain on which a rich variety of contemporary debates have been played out. Contributors such as Richard Rorty, Stanley Cavell, Nancy Fraser, Robert Westbrook, Hilary Putnam, and Morris Dickstein trace pragmatism’s cultural and intellectual evolution, consider its connection to democracy, and discuss its complex relationship to the work of Emerson, Nietzsche, and Wittgenstein. They show the influence of pragmatism on black intellectuals such as W. E. B. Du Bois, explore its view of poetic language, and debate its effects on social science, history, and jurisprudence. Also including essays by critics of the revival such as Alan Wolfe and John Patrick Diggins, the volume concludes with a response to the whole collection from Stanley Fish.

Including an extensive bibliography, this interdisciplinary work provides an in-depth and broadly gauged introduction to pragmatism, one that will be crucial for understanding the shape of the transformations taking place in the American social and philosophical scene at the end of the twentieth century.

Contributors. Richard Bernstein, David Bromwich, Ray Carney, Stanley Cavell, Morris Dickstein, John Patrick Diggins, Stanley Fish, Nancy Fraser, Thomas C. Grey, Giles Gunn, Hans Joas, James T. Kloppenberg, David Luban, Louis Menand, Sidney Morgenbesser, Richard Poirier, Richard A. Posner, Ross Posnock, Hilary Putnam, Ruth Anna Putnam, Richard Rorty, Michel Rosenfeld, Richard H. Weisberg, Robert B. Westbrook, Alan Wolfe

 

Silviano Santiago has been a pioneer in the development of concepts crucial to the discourse of contemporary critical and cultural theory, especially postcolonial theory. The notions of “hybridity” and “the space in-between” have been so completely absorbed into current theory that few scholars even realize these terms began with Santiago. He was the first to introduce poststructuralist thought to Brazil—via his publication of the Glossario de Derrida and his role as a prominent teacher. The Space In-Between translates many of his seminal essays into English for the first time and, in the process, introduces the thought of one of Brazil’s foremost critics and theorists of the late twentieth century.
Santiago’s work creates a theoretical field that transcends both the study of a specific national literature and the traditional perspectives of comparative literature. He examines the pedagogical and modernizing mission of Western voyagers from the conquistadors to the present. He deconstructs the ideas of “original” and “copy,” unpacking their implications for the notions of so-called dominant and dominated cultures. Santiago also confronts questions of cultural dependency and analyzes the problems involved in the imposition of an alien European history, the cultural displacements experienced by the Indians through their religious conversion, and the hierarchical suppression of native and Afro-Brazilian values.
Elegantly written and translated, The Space In-Between will provide insights and perspectives that will interest cultural and literary theorists, postcolonial scholars, and other students of contemporary culture.

Speed, the sensation one gets when driving fast, was described by Aldous Huxley as the single new pleasure invented by modernity. The Speed Handbook is a virtuoso exploration of Huxley’s claim. Enda Duffy shows how the experience of speed has always been political and how it has affected nearly all aspects of modern culture. Primarily a result of the mass-produced automobile, the experience of speed became the quintessential way for individuals to experience modernity, to feel modernity in their bones.

Duffy plunges full-throttle into speed’s “adrenaline aesthetics,” offering deft readings of works ranging from F. Scott Fitzgerald’s The Great Gatsby, through J. G. Ballard’s Crash, to the cautionary consumerism of Ralph Nader. He describes how speed changed understandings of space, distance, chance, and violence; how the experience of speed was commodified in the dawning era of mass consumption; and how society was incited to abhor slowness and desire speed. He examines how people were trained by new media such as the cinema to see, hear, and sense speed, and how speed, demanded of the efficient assembly-line worker, was given back to that worker as the chief thrill of leisure. Assessing speed’s political implications, Duffy considers how speed pleasure was offered to citizens based on criteria including their ability to pay and their gender, and how speed quickly became something to be patrolled by governments. Drawing on novels, news reports, photography, advertising, and much more, Duffy provides a breakneck tour through the cultural dynamics of speed.

Theodor W. Adorno (1903–1969) was one of the twentieth century’s most important thinkers. In light of two pivotal developments—the rise of fascism, which culminated in the Holocaust, and the standardization of popular culture as a commodity indispensable to contemporary capitalism—Adorno sought to evaluate and synthesize the essential insights of Western philosophy by revisiting the ethical and sociological arguments of his predecessors: Kant, Nietzsche, Hegel, and Marx. This book, first published in Germany in 1996, provides a succinct introduction to Adorno’s challenging and far-reaching thought. Gerhard Schweppenhäuser, a leading authority on the Frankfurt School of critical theory, explains Adorno’s epistemology, social and political philosophy, aesthetics, and theory of culture.

After providing a brief overview of Adorno’s life, Schweppenhäuser turns to the theorist’s core philosophical concepts, including post-Kantian critique, determinate negation, and the primacy of the object, as well as his view of the Enlightenment as a code for world domination, his diagnosis of modern mass culture as a program of social control, and his understanding of modernist aesthetics as a challenge to conceive an alternative politics. Along the way, Schweppenhäuser illuminates the works widely considered Adorno’s most important achievements: Minima Moralia, Dialectic of Enlightenment (co-authored with Horkheimer), and Negative Dialectics. Adorno wrote much of the first two of these during his years in California (1938–49), where he lived near Arnold Schoenberg and Thomas Mann, whom he assisted with the musical aesthetics at the center of Mann’s novel Doctor Faustus.

In Things Fall Away, Neferti X. M. Tadiar offers a new paradigm for understanding politics and globalization. Her analysis illuminates both the power of Filipino subaltern experience to shape social and economic realities and the critical role of the nation’s writers and poets in that process. Through close readings of poems, short stories, and novels brought into conversation with scholarship in anthropology, sociology, politics, and economics, Tadiar demonstrates how the devalued experiences of the Philippines’ vast subaltern populations—experiences that “fall away” from the attention of mainstream and progressive accounts of the global capitalist present—help to create the material conditions of social life that feminists, urban activists, and revolutionaries seek to transform. Reading these “fallout” experiences as vital yet overlooked forms of political agency, Tadiar offers a new and provocative analysis of the unrecognized productive forces at work in global trends such as the growth of migrant domestic labor, the emergence of postcolonial “civil society,” and the “democratization” of formerly authoritarian nations.

Tadiar treats the historical experiences articulated in feminist, urban protest, and revolutionary literatures of the 1960s–90s as “cultural software” for the transformation of dominant social relations. She considers feminist literature in relation to the feminization of labor in the 1970s, when between 300,000 and 500,000 prostitutes were working in the areas around U.S. military bases, and in the 1980s and 1990s, when more than five million Filipinas left the country to toil as maids, nannies, nurses, and sex workers. She reads urban protest literature in relation to authoritarian modernization and crony capitalism, and she reevaluates revolutionary literature’s constructions of the heroic revolutionary subject and the messianic masses, probing these social movements’ unexhausted cultural resources for radical change.

The problem of translation has become increasingly central to critical reflections on modernity and its universalizing processes. Approaching translation as a symbolic and material exchange among peoples and civilizations—and not as a purely linguistic or literary matter, the essays in Tokens of Exchange focus on China and its interactions with the West to historicize an economy of translation. Rejecting the familiar regional approach to non-Western societies, contributors contend that “national histories” and “world history” must be read with absolute attention to the types of epistemological translatability that have been constructed among the various languages and cultures in modern times.

By studying the production and circulation of meaning as value in areas including history, religion, language, law, visual art, music, and pedagogy, essays consider exchanges between Jesuit and Protestant missionaries and the Chinese between the seventeenth and nineteenth centuries and focus on the interchanges occasioned by the spread of capitalism and imperialism. Concentrating on ideological reciprocity and nonreciprocity in science, medicine, and cultural pathologies, contributors also posit that such exchanges often lead to racialized and essentialized ideas about culture, sexuality, and nation. The collection turns to the role of language itself as a site of the universalization of knowledge in its contemplation of such processes as the invention of Basic English and the global teaching of the English language. By focusing on the moments wherein meaning-value is exchanged in the translation from one language to another, the essays highlight the circulation of the global in the local as they address the role played by historical translation in the universalizing processes of modernity and globalization.

The collection will engage students and scholars of global cultural processes, Chinese studies, world history, literary studies, history of science, and anthropology, as well as cultural and postcolonial studies.

 

Contributors. Jianhua Chen, Nancy Chen, Alexis Dudden Eastwood, Roger Hart, Larissa Heinrich, James Hevia, Andrew F. Jones, Wan Shun Eva Lam, Lydia H. Liu, Deborah T. L. Sang, Haun Saussy, Q. S. Tong, Qiong Zhang

American literary historians have viewed Ralph Waldo Emerson’s resignation from the Unitarian ministry in 1832 in favor of a literary career as emblematic of a main current in American literature. That current is directed toward the possession of a self that is independent and fundamentally opposed to the “accoutrements of society and civilization” and expresses a Transcendentalist antipathy toward all institutionalized forms of religious observance.
In the ongoing revision of American literary history, this traditional reading of the supposed anti-institutionalism of the Transcendentalists has been duly detailed and continually supported. Richard A. Grusin challenges both traditional and revisionist interpretations with detailed contextual studies of the hermeneutics of Ralph Waldo Emerson, Henry David Thoreau, and Theodore Parker. Informed by the past two decades of critical theory, Grusin examines the influence of the higher criticism of the Bible—which focuses on authorship, date, place of origin, circumstances of composition, and the historical credibility of biblical writings—on these writers. The author argues that the Transcendentalist appeal to the authority of the “self” is not an appeal to a source of authority independent of institutions, but to an authority fundamentally innate.

Trespasses presents key writings of the Tokyo-born literary scholar Masao Miyoshi, one of the most important postwar intellectuals to link culture with politics and a remarkable critical voice within the academy. For more than four decades, Miyoshi worked outside the mainstream, trespassing into new fields, making previously unseen connections, and upending naive assumptions. With an impeccable sense of when a topic or discussion had lost its critical momentum, he moved on to the next question, and then the next after that, taking on matters of literary form, cross-cultural relations, globalization, art and architecture, the corporatization of the university, and the threat of ecological disaster. Trespasses reveals the tremendous range of Miyoshi’s thought and interests, shows how his thinking transformed over time, and highlights his recurring concerns.

This volume brings together eleven selections of Miyoshi’s previously published writing, a major new essay, a critical introduction to his life and work, and an interview in which Miyoshi reflects on the trajectory of his thought and the institutional history of modern Japan studies. In the new essay, “Literary Elaborations,” he provides a masterful overview of the nature of the contemporary university, closing with a call for a global environmental protection studies that would radically reconfigure academic disciplines and merge the hard sciences with the humanities and the social sciences. In the other, chronologically arranged selections, Miyoshi addresses cross-culture relations between Japan and the United States, English literary studies in Japan, and Japan studies in the U.S., as well as the organization of urban space and the integrity of art and architecture in aggressively marketed-oriented environments. Trespasses is an invaluable introduction to the work of a fearless cultural critic.