Bøger udgivet af University of Michigan Press

Roman merchants, artisans, and service providers faced substantial prejudice. Contemporary authors labeled them greedy, while the Roman on the street accused merchants of lying and cheating. Legally and socially, merchants were kept at arm's length from respectable society. Yet merchants were common figures in daily life, populating densely packed cities and traveling around the Mediterranean. The Reputation of the Roman Merchant focuses on the strategies retailers, craftsmen, and many other workers used to succeed, examining how they developed good reputations despite the stigma associated with their work. In a novel approach, blending social and economic history, The Reputation of the Roman Merchant considers how reputation worked as an informal institution, establishing and reinforcing traditional Roman norms while lowering the cost of doing business for individual workers. From histories and novels to inscriptions and art, this volume identifies common reputation strategies, explores how points of pride and personal accomplishments were shared with others, and explains responses to merchant activities on the small-scale. The book concludes that merchants invested heavily in their reputations as a way to set themselves apart from common, negative stereotypes without admitting that there was anything shameful about the work they did.

Authoritarianism seems to be everywhere in the political world--even the definition of authoritarianism as any form of non-democratic governance has grown very broad. Attempts to explain authoritarian rule as a function of the interests or needs of the ruler or regime can be misleading. Autocrats Can't Always Get What They Want argues that to understand how authoritarian systems work we need to look not only at the interests and intentions of those at the top, but also at the inner workings of the various parts of the state. Courts, elections, security force structure, and intelligence gathering are seen as structured and geared toward helping maintain the regime. Yet authoritarian regimes do not all operate the same way in the day-to-day and year-to-year tumble of politics. In Autocrats Can't Always Get What They Want, the authors find that when state bodies form strong institutional patterns and forge links with key allies both inside the state and outside of it, they can define interests and missions that are different from those at the top of the regime. By focusing on three such structures (parliaments, constitutional courts, and official religious institutions), the book shows that the degree of autonomy realized by a particular part of the state rests on how thoroughly it is institutionalized and how strong its links are with constituencies. Instead of viewing authoritarian governance as something that reduces politics to rulers' whims and opposition movements, the authors show how it operates--and how much what we call "authoritarianism" varies.

Before the U.S. campaign finance system can be fixed, we first have to understand why it has developed into the system we have. The nature of democracy itself, the American capitalist economic system, the content of the U.S. Constitution and how it is interpreted, the structure of our governmental institutions, the competition for governmental power, and the behavior of campaign finance actors have all played a role in shaping the system. The Fundamentals of Campaign Finance in the U.S. takes care to situate the campaign finance system in the context of the broader U.S. political and economic system. Dwyre and Kolodny offer readers a brief tour through the development of the campaign finance regulatory structure, highlighting the Supreme Court's commitment to free speech over political equality from Buckley v. Valeo (1976) through the passage of the Bipartisan Campaign Reform Act (BCRA, 2002). They also examine the driving force behind campaign finance reform--corruption--through historical, transactional, and institutional perspectives. While diving into the insufficiency of the disclosure and enforcement of campaign finance laws and calling attention to multiple federal agencies, including the Securities and Exchange Commission, the Federal Communications Commission, the Internal Revenue Service, and (principally) the Federal Election Commission, the authors show how a narrow view on campaign finance makes change difficult and why reforms often have limited success. By examining the fundamentals, Dwyre and Kolodny show the difficulties of changing a political system whose candidates have always relied on private funding of campaigns to one that guarantees free speech rights while minimizing concerns of corruption.

Transnational Philippines: Cultural Encounters in Philippine Literature in Spanish approaches literature that has been forgotten or neglected in studies on other literatures in Spanish due, in part, to the fact that today Spanish is no longer spoken in the Philippines or in Asia. However, isolation has not always been the case, and by omitting Philippine literature in Spanish from the picture of world literatures and Spanish-language literatures, the landscape of these disciplines is incomplete. Transnational Philippines studies how this literary production stemmed from its relationship with other cultures, literature, and arts. It attempts to break this literature's isolation and show how it is part of the broad literary system of literature written in Spanish. Yet Transnational Philippines also questions the constraints of traditional literary genres in order to make room for Philippine texts and other colonial and postcolonial texts, so that those texts can be taken into consideration in literary studies. Its chapters elaborate on the problems surrounding the cultural and identity relations of the Philippines with other regions and the literary nature of Philippine texts. By addressing the need for a postnational approach to Spanish-language Philippine literature, the book challenges the Spain/Latin America dichotomy existing in Spanish language literary studies and leans toward a global conception of the Hispanophone.

As shown by the success of Squid Game and Parasite, South Korea's film industry is producing films and original series for streaming services, film studios, and television stations worldwide. South Korea is now arguably considered one of the few countries outside the United States to have captivated the world's hearts and minds through pop music, TV dramas, and film. Similarly, the exponential growth in the South Korean film industry has been mirrored by a growing body of industry and film policy forums and academic conferences in both the East and the West. The South Korean Film Industry is the first detailed scholarly overview of the South Korean film industry. The thirteen chapters discuss topics from short films to popular television series that have engaged global audiences. Contributors explore the major changes in South Korean film making, marketing, and in the international growth and popularity of South Korean films. By bringing together a wide range of academic specialists on the South Korean film industry, The South Korean Film Industry situates the current scholarship on South Korean cinema within the ongoing theoretical debates in contemporary global film studies. This volume offers invigorating discussions of the South Korean film industry, as well as its economic, political, and artistic impact on global, local, and regional film industries and cultures.

As the 20th century dawned, authors, artists, and filmmakers flocked to cities like Paris and Berlin for a chance to experience a bustling urban life and engage with other artists and intellectuals. Among them were German-speaking authors and filmmakers such as Harry Graf Kessler, Rainer Maria Rilke, August Endell, Alfred Döblin, Else Lasker-Schüler, Segundo de Chomón, and the brothers Max and Emil Skladanowsky. In their writing and artistic work from that period, they depicted the perpetual influx of stimuli caused by urban life--including hordes of pedestrians, bustling traffic, and a barrage of advertisements--as well as how these encounters repeatedly paralleled their experiences of watching early twentieth-century dance performances by Loïe Fuller, Ruth St. Denis, and Vaslav Nijinsky. The convergence these writers and filmmakers saw between the unexpected encounters during their urban strolls and experimental dance performances led to writings that interwove the two motifs. Drawing on cultural, literary, dance, performance, and queer studies, Dancing with the Modernist City analyzes an array of material from 1896 to 1914--essays, novels, short stories, poetry, newspaper articles, photographs, posters, drawings, and early film. It argues that these writers and artists created a genre called the metropolitan dance text, which depicts dancing figures not on a traditional stage, but with the streets, advertising pillars, theaters, cafes, squares, and even hospitals of an urban setting. Breaking away from the historically male, heteronormative view, this posthumanist mode of writing highlights the visual and episodic unexpectedness of urban encounters. These literary depictions question traditional conceptualizations of space and performance by making the protagonist and the reader feel like they embody the dancer and the movement. In doing so, they upset the conventional depictions of performance and urban spaces in ways paralleling modern dance.

Tracing the emergence of what the media industries today call transmedia, story worlds, and narrative franchises, Legal Stories provides a dual history of copyright law and narrative-based media development between the Copyright Act of 1909 and the Copyright Act of 1976. Drawing on archival material, including legal case files, and employing the principles of actor-network theory, Gregory Steirer demonstrates how the meaning and form of narrative-based property in the twentieth century was integral to the letter and practice of intellectual property law during this time. Steirer's expansive view of intellectual property law encompasses not only statutes and judicial opinions, but also the everyday practices and productions of authors, editors, fans, and other legal laypersons. The result is a history of the law as improvisatory and accident-prone, taking place as often outside the courtroom as inside, and shaped as much by laypersons as lawyers. Through the examination of influential legal disputes involving early properties such as Dashiell Hammett's Sam Spade, H. P. Lovecraft's Cthulhu Mythos, and Robert E. Howard's Conan the Barbarian, Steirer provides a ground's eye view of how copyright law has operated and evolved in practice.

This collection, for the first time, explores women's self-conceptions and representations of women's and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, "New Man," viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by--much belatedly--including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.

"It is with no desire or hope to promote a correct or superior form of textuality, with no desire to correct a so-called interpretive or editorial textual abuse, nor any attempt to prevent anyone from doing anything imaginable with texts or books that I have undertaken this book. . . ." So writes Peter Shillingsburg in his introduction to this series of meditations on the possibilities of deriving "meaning" from the texts we read. Shillingsburg argues that as humans we are and always will be interested in the past, in what was meant, in what was revealed inadvertently by a text--and that is all to the good. But we learn more and can compare notes better when we understand the principles that govern the ways we read. Resisting Texts approaches crucial questions about the practice of textual editing and literary criticism by posing questions in the form "If we take such and such to be the goal of our reading, then what will follow from that assumption?" With humor and a lively imagination, Shillingsburg takes the reader on a fresh theoretical investigation of communication, understanding and misunderstanding, and textual satisfactions, drawing examples from Thackeray, Wordsworth, Melville, and others. Resisting Texts will appeal to all who enjoy the varieties of critical approaches to the written word. Peter L. Shillingsburg is Professor of English, University of North Texas.

An examination of what binds poetic endeavor into a singular, shining whole

Art's power to challenge inequities and build inclusive dialogues

It has been a decade since Serial brought the narrative podcast to the center of popular culture. In that time, there has been an enormous boom in the production of podcasts that tell stories, particularly in the fields of true crime, storytelling, history, and narrative fiction. Now that the initial glow around the medium has begun to fade, it is time to reevaluate the medium's technological, political, economic, and cultural rise, in particular what types of storytelling accompanied that rise. Narrative Podcasting in an Age of Obsession is the first book to look back on this prodigious body of material and attempt to make sense of it from a structural, historical, and analytic point of view. Focusing on more than 350 podcasts and other audio works released between Serial and the COVID pandemic, the book explores why so many of these podcasts seem "obsessed with obsession," why they focus not only on informing listeners but also dramatizing the labor that goes into it, and why fiction podcasts work so hard to prove they are a brand new form, even as they revive features of radio from decades gone by. This work also examines the industry's reckoning with its own implication in systemic racism, misogyny, and other forms of discrimination. Employing innovative new critical techniques for close listening-including pitch tracking software and spectrograms-Narrative Podcasting in an Age of Obsession makes a major contribution to podcast studies and media studies more broadly.

When Romans applied the term "parasite" to contemporaries in dependent circumstances, or clientes, they were evoking one of the stock characters of ancient Greek comedy. In the Roman world the parasite was moved out of his native genre into the literatures of invective and social criticism, where his Greek origins made him a uniquely useful transmitter of Roman perceptions. Whenever the figure of the parasite is used to mask a person in Roman society, we know that an effort of interpretation is underway. The fit between the mask and its wearer is in the eyes of the beholder, and in Rome the mask seemed to fit people in many different situations: entrepreneurs, tax-farmers, lawyers, female companions, philosophers, and poets.In The Mask of the Parasite, Cynthia Damon maintains that the parasite of Latin literature is a negative reflection of the cliens. In Part One she assembles a composite picture of the comic parasite using as evidence fragments of Greek comedy, works from Greek writers of the imperial period whose works reflect the comic tradition, and the ten complete plays of Roman comedy in which a parasite appears. In parts two and three she examines the ways in which Cicero and the satirists use the figure of the parasite: Cicero in belittling his opponents in court, Horace and Martial in creating a negative foil for the poeta cliens, Juvenal in painting contemporary patron/client relationships as morally and spiritually bankrupt. The Mask of the Parasite is a fascinating study of the intersection of literature and society in ancient Rome. However, neither the parasite nor patronage is confined to the Roman world. Students of classical studies as well as students of literature and cultural studies will find this to be a work of utmost importance in understanding these complex issues of human interaction.Cynthia Damon is Assistant Professor of Classics, Amherst College

WINNER > Best Popular Book on Archaeology --Biblical Archaeology SocietyApocalypse. Judgment Day. The End Time. Armageddon. Students of the Bible know it as the place where the cataclysmic battle between the forces of good and the forces of evil will unfold. Many believe that this battle will take place in the very near future. But few know that Armageddon is a real place--one that has seen more fighting and bloodshed than any other spot on earth.The name Armageddon is a corruption of the Hebrew phrase Har Megiddo, and it means "Mount of Megiddo." More than thirty bloody conflicts have been fought at the ancient site of Megiddo and adjacent areas of the Jezreel Valley during the past four thousand years. Egyptians, Israelites, Greeks, Muslims, Crusaders, Mongols, British, Germans, Arabs, and Israelis have all fought and died here. The names of the warring leaders reverberate throughout history: Thutmose III, Deborah, Gideon, Saul and Jonathan, Jezebel, Saladin, Napoleon, and Allenby, to name but the most famous. Throughout history Megiddo and the Jezreel Valley have been ground zero for battles that determined the very course of civilization. No wonder that the author of Revelation believed Armageddon, the penultimate battle between good and evil, would also take place here!The Battles of Armageddon introduces readers to a rich cast of ancient and modern warriors, while bringing together for the first time the wide range of conflicts that have been fought at Megiddo and the Jezreel Valley from the Bronze Age to the Nuclear Age.Eric H. Cline has participated in more than seventeen seasons of excavation and survey in Israel, Egypt, Jordan, Greece, and the United States. He is currently a Senior Staff Archaeologist at the ongoing excavations of Megiddo.

Through a detailed analysis of medieval Spain's best known literary works, this book examines two common images of woman--the sexually attractive matron of the Christian upper classes, and the beautiful, pure, and sexually ripe upper-class Muslim or Jewish woman who is submissive to Christians. Suggesting a link between these images and the issues of political and military power, religious difference, and language in the context of reconquest Castile, the book argues that female representation in the literature provides a resolution of Christian-Muslim military conflict.This volume is the first in the field of medieval Hispanic studies to reexamine the canon in the light of recent critical work on language, gender, power, and the effects of domination. It shows how the texts imaginarily liberate Christian women from the authority of their husbands, in order to demonstrate how women's access to the discourses of power leads to tragedy and ruin for the men who fail to silence them.Women, Jews, and Muslims in the Texts of Reconquest Castile makes the argument that dominant-"other" struggle, waged on the terrains of gender, religion, and war, is the most appropriate paradigm for discussing literary texts produced in the last centuries of reconquest. More than any other culture, medieval Spain reminds us of the provisional nature of national, religious, and sexual identity. Exploring the gendering of subjects in society, the volume will be of interest to those in cultural and gender studies, Hispanic studies, medieval studies, and Middle Eastern studies. All texts are translated, and maps and illustrations help orient the reader.Louise Mirrer is Professor and Chair, Department of Spanish and Portuguese, University of Minnesota.

Uncovering the undead stalking the panels of action/adventure and superhero comics

The digital age is burning out our most precious resources and the future of the past is at stake. In After Disruption: A Future for Cultural Memory, Trevor Owens warns that our institutions of cultural memory--libraries, archives, museums, humanities departments, research institutes, and more--have been "disrupted," and largely not for the better. He calls for memory workers and memory institutions to take back control of envisioning the future of memory from management consultants and tech sector evangelists. After Disruption posits that we are no longer planning for a digital future, but instead living in a digital present. In this context, Owens asks how we plan for and develop a more just, sustainable, and healthy future for cultural memory. The first half of the book draws on critical scholarship on the history of technology and business to document and expose the sources of tech startup ideologies and their pernicious results, revealing that we need powerful and compelling counter frameworks and values to replace these ideologies. The second half of the book makes the case for the centrality of maintenance, care, and repair as interrelated frameworks to build a better future in which libraries, archives, and museums can thrive as sites of belonging and connection through collections.

Mediating Gender in Post-Authoritarian South Korea focuses on the relationship between media representation and gender politics in South Korea. Its chapters feature notable voices of South Korea's burgeoning sphere of gender critique enabled by social media, doing what no other academic volume has yet accomplished in the sphere of Anglophone studies on this topic. Seeking to interrogate the role of popular media in establishing and shaping gendered common sense, this volume fosters cross-disciplinary conversations linked by the central thesis that gender discourse and representation are central to the politics, aesthetics, and economics of contemporary South Korea. In the post-authoritarian period (the late 1980s to the #MeToo present), media representation and popular discourse changed the gender conventions that are found at the core of civic, political, and cultural debates. ​Mediating Gender in Post-Authoritarian South Korea maps the ways in which popular media and public discourse make the social dynamics of gender visible and open them up for debate and dismantling. In presenting innovative new research on the ways in which popular ideas about gender gain concrete form and political substance through mass mediation, our contributors investigate the discursive production of gender in contemporary South Korea through trends, tropes, and thematics, as popular media become the domain in which new gendered subjectivities and relations transpire. The essays in this volume present cases and media objects that span multiple media and platforms, introducing new ways of thinking about gender as a platform and a conceptual infrastructure in the post-authoritarian era.

Kinethic California: Dancing Funk and Disco Era Kinships documents the emergence of new forms of black social and vernacular dance in 1970s California, forms embedded in local cultural histories but connected to the contemporary global culture of hip hop/streetdance. The book weaves interviews and ethnographies of first generation (1960s-70s) dancers of strutting, boogaloo, robotting, popping, locking, waacking, and punking styles, as it advances a theory of dance as kinetic kinship formation, through a focus on techniques and practices of the dancers themselves. The term given to these collective movement practices is kinethic, to bring attention to motion at the core of black aesthetics that generate dances as forms of kinship beyond blood relation. Kinethics reorient dancers toward kinetic kinship in ways that give continuity to black dance lineages under persistent conditions of disappearance and loss. As dancers engage kinethics, they reinvent gestural vocabularies that describe worlds they imagine into knowing-being. The stories in Kinethic California attend to the aesthetics of everyday movement, seen through the lens of young artists who from childhood listened to their family's soul and funk records, observed the bent-leg strolls and rhythmic handshakes of people moving through their neighborhoods, and watched each other move at house parties, school gyms, and around-the-way social clubs. Their aesthetic sociality and geographic movement provided materials for collective study and creative play. Bragin attends to such multidirectional conversations between dancer, community, and tradition, by way of which California dance lineages emerge and take flight.

Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works--cover songs, remixes, mash-ups, parodies, and soundalike songs--to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.

"Creativity" is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

Life, Earth, Colony explores the ideas, life, and historical significance of German zoologist turned geographer Friedrich Ratzel (1844-1904), famous for developing the foundations of geopolitical thought. Ratzel produced a remarkable body of work that revolutionized the study of space, movement, colonization, and war. He also served as a source of intellectual inspiration for national socialism, particularly through his Lebensraum (living space) concept, which understood all life as being caught in an eternal struggle for space. This book closely analyzes this radical conservative intellectual, focusing on his often-overlooked ethnography, biogeography, travel, and creative writing, and colonial activism as well as his more widely-known political geography. Life, Earth, Colony finds that there is an as yet unexplored necropolitical impulse at the heart of Ratzel's entire oeuvre, a preoccupation with death and dying, which had a profound impact on twentieth-century history.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

Told in Letters is a study of the English novel before it came of age with Richardson's Pamela. The first book to trace the history and methods of using letters to tell a story, it draws on more than 200 little-known works written before Pamela. Many of these were designed for a public that had little concern with art. Here we see the origins of the psychological novel in its most primitive form. We also discover the achievements of early letter fiction such as the "familiar letter" and the widely imitated innovations of French fiction. In addition, Told in Letters portrays the Grub Street world that gave birth to popular literature, and describes the power that booksellers and popular taste had over these early novels. Finally, Richardson is reassessed in the light of his predecessors' writing, and we understand better the origins of a literary technique that did so much to revolutionize English fiction in the middle of the eighteenth century.

Literary studies of James Joyce, perhaps more so than those of any other author, have been enriched by important developments in literary theory in the last twenty-five years. Noting a curious gap in this scholarship, M. Keith Booker brings the work of Mikhail Bakhtin, unquestionably one of the most important literary theorists of this century, to bear on Joyce's relationship to six of his literary predecessors. In clear and readable prose, Booker explores Joyce's dialogues not only with Homer, Dante, and Shakespeare, his three most obvious predecessors, but with Rabelais, Goethe, and Dostoevsky, three literary figures important in Bakhtin's theoretical work.These six writers provide the opportunity to examine Joyce's work with regard to several of Bakhtin's most important concepts. If Homer represents the authority of epic, Rabelais represents for Bakhtin the subversive multivocal energies of carnivalesque genres. As opposed to his description of Dante's attempts to escape from historicity, Bakhtin figures Goethe as the epitome of engagement with the temporality of everyday history. And Bakhtin's generic denial of polyphony in the works of Shakespeare contrasts with Bakhtin's identification of Dostoevsky as the most polyphonic writer in all the world of literature.Together, Booker's comparative readings suggest a Joyce whose works are politically committed, historically engaged, and socially relevant. In short, they suggest a Joyce whose work differs radically from conventional notions of modernist literature as culturally elitist, historically detached, and more interested in individual psychology than in social reality.M. Keith Booker is Professor of English, University of Arkansas.

Born and raised in Britain, Thom Gunn has lived in the United States since 1954. He is well known as a poet and is increasingly gaining recognition as a literary critic. Gunn's main concern in Shelf Life is with twentieth-century American poets, both the famous and the obscure; he also discusses other matters, including the Elizabethans, Christopher Isherwood as man and stylist, and Gunn's own poetry, which he touches on indirectly in the first two sections of the book and directly in the last. Gunn's criticism communicates his own enthusiasm for poetry. He tries to show his readers how to get a first foothold into the work of some of his favorite poets, whether Wyatt or Whitman, Mina Loy or Robert Creeley.

Double Passage presents, in their own words, the lives and experiences of thirteen men and women from the island of Barbados who emigrated to North America and Britain and then years later returned home. They tell of their decisions to leave the familiarity and security of home for an uncertain future in cities of the industrial world; they explain what it is like to be black and immigrant in the predominantly white societies they settled in; and they reveal their struggles to find work and decent housing, to develop new relationships, and to save enough money to be able to return home and assume the affluent lifestyle expected of returnees. Double Passage is an extraordinary book that is able both to inform and to entertain.

The compelling oral history of a remarkable woman's life and political struggle

This book departs from stereotypes that often dominate Western discourse about Muslim societies. The Muslim world encompasses a wide range of countries--among them Turkey, Iraq, Egypt, Senegal, Saudi Arabia, and Morocco--each with a varying degree of religious stricture. Generalizations, therefore, can be erroneous and misleading. The contributors to this book--prominent scholars in anthropology, history, sociology, and political science--examine such issues as the ideology and political practices of Iran's ruling Shi'ite clerics, the impact of state policies on the status of women, the controversy over parliamentary government in the Arab world, the role of modern intellectuals, and charisma and leadership in tribal societies. The arguments the authors put forward often overturn conventional opinion about the Muslim world. This original and important book reminds us that Muslim society is not a monolith, but that it encompasses a rich variety of cultures.

Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women's playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.