This book compares how British and Spanish media have covered the French ban on hijab wearing in public schools. Using interdisciplinary approaches ranging from social psychology, semiology, cognitive linguistics and sociology, it seeks to explain how the hijab is interpreted as a sign by the mainstream culture, and hijab-wearing Muslim sub-culture. Based on an analysis of 108 articles published in the national newspaper from each context, this comparative study operates on two levels: a micro-level analysis of within-culture variations between mainstream culture and the hijab-wearing women; and a macro-level analysis of the cross-cultural variation between the British context and the Spanish one. The result is a profound insight into how each discourse reveals the different level of social integration of hijab-wearing women in these two different contexts. The Analysis methodology combines between Critical Discourse Analysis CDA, Conceptual Metaphor Theory CMT, and Cognitive Linguistics CL. The book introduces a novel analysis methodology for social and linguistic sciences. It is the Cognitive Critical Discourse Analysis methodology CCDA.

This collection is the first book to comprehensively analyse the relatively new and under-researched phenomenon of 'ruin porn'. Featuring a diverse collection of chapters, the authors in this work examine the relevance of contemporary ruin and its relationship to photography, media, architecture, culture, history, economics and politics. This work investigates the often ambiguous relationship that society has with contemporary ruins around the world, challenging the notions of authenticity that are frequently associated with images of decay. With case studies that discuss various places and topics, including Detroit, Chernobyl, Pitcairn Island, post-apocalyptic media, online communities and urban explorers, among many other topics, this collection illustrates the nuances of ruin porn that are fundamental to an understanding of humanity's place in the overarching narrative of history.

What is Buddhist Feminism? This book examines reasons why Buddhism and feminism may seem to be incompatible, and shows that Buddhist and feminist philosophies can work together to challenge patriarchal structures. Current scholarship usually compares Buddhism and feminism to judge their compatibility, rather than describing a Buddhist Feminist perspective or method. Sokthan Yeng instead looks for a pattern that connects Buddhist and feminist traditions. In particular, she explores possible exchanges between feminist and Buddhist philosophies which highlight how they each contribute to a more nuanced understanding of anger. Yeng explores how a Buddhist feminist approach would allow women's anger to be transformed from that which is outside the bounds of philosophy into that which contributes to philosophical discourse in the East and West, and between the two.

Sharon A. Stanley analyzes cynicism from a political-theoretical perspective, arguing that cynicism isn't unique to our time. Instead, she posits that cynicism emerged in the works of French Enlightenment philosophers, such as Jean-Jacques Rousseau and Denis Diderot. She explains how eighteenth-century theories of epistemology, nature, sociability, and commerce converged to form a recognizably modern form of cynicism, foreshadowing postmodernism. While recent scholarship and popular commentary has depicted cynicism as threatening to healthy democracies and political practices, Stanley argues instead that the French philosophes reveal the possibility of a democratically hospitable form of cynicism.

This volume includes eleven original essays that explore and expand on the work of Don Ihde, bookended by two chapters by Ihde himself. Ihde, the recipient of the first Society for Philosophy and Technology's Lifetime Achievement Award in 2017, is best known for his development of postphenomenology, a blend of pragmatism and phenomenology that incorporates insights into the ways technology mediates human perception and action. The book contains contributions from academics from Europe, North America, and Asia, which demonstrates the global impact of Ihde's work. Essays in the book explore the relationship between Ihde's work and its origins in phenomenology (especially Husserl and Heidegger) and American pragmatism; integrate his philosophical work within the embodied experience of radical architecture and imagine the possibility of a future philosophy of technology after postphenomenology; develop central ideas of postphenomenology and expand the resources present in postphenomenology to ethics and politics; and extend the influence of Ihde's ideas to mobile media and engineering, and comprehensively assess the influence of his work in China. The book includes a reprint of the Introduction of Sense and Significance, one of Ihde's first books; "Hawk: Predatory Vision," a new chapter that blends his biographical experience with feminism, technoscience, and environmental observation; and an appendix that lists all of Ihde's books as well as secondary sources annotated by Ihde himself. Starting with an Editors' Introduction that offers an overview of the central ideas in Ihde's corpus and concluding with an index that facilitates research across the various chapters, this book is of interest to a diverse academic community that includes philosophers, STS scholars, anthropologists, historians, and sociologists.

Early Modern Black Diaspora Studies brings into conversation two fields-Early Modern Studies and Black Studies-that traditionally have had little to say to each other. This disconnect is the product of current scholarly assumptions about a lack of archival evidence that limits what we can say about those of African descent before modernity. This volume posits that the limitations are not in the archives, but in the methods we have constructed for locating and examining those archives. The essays that make up this volume offer new critical approaches to black African agency and the conceptualization of blackness in early modern literary works, historical documents, material and visual cultures, and performance culture. Ultimately, this critical anthology revises current understandings about racial discourse and the cultural contributions of black Africans in early modernity and in the present across the globe.

This book examines how the experiences of hearing voices and seeing visions were understood within the cultural, literary, and intellectual contexts of the medieval and early modern periods. In the Middle Ages, these experiences were interpreted according to frameworks that could credit visionaries or voice-hearers with spiritual knowledge, and allow them to inhabit social roles that were as much desired as feared. Voice-hearing and visionary experience offered powerful creative possibilities in imaginative literature and were often central to the writing of inner, spiritual lives. Ideas about such experience were taken up and reshaped in response to the cultural shifts of the early modern period. These essays, which consider the period 1100 to 1700, offer diverse new insights into a complex, controversial, and contested category of human experience, exploring literary and spiritual works as illuminated by scientific and medical writings, natural philosophy and theology, and the visual arts. In extending and challenging contemporary bio-medical perspectives through the insights and methodologies of the arts and humanities, the volume offers a timely intervention within the wider project of the medical humanities. Chapters 2 and 5 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book examines the convergent paths of the Internet and the American military, interweaving a history of the militarized Internet with analysis of a number of popular Hollywood movies in order to track how the introduction of the Internet into the war film has changed the genre, and how the movies often function as one part of the larger Military-Industrial- Media-Entertainment Network and the Total War Machine. The book catalogues and analyzes representations of a militarized Internet in popular Hollywood cinema, arguing that such illustrations of digitally networked technologies promotes an unhealthy transhumanism that weaponizes the relationships between the biological and technological aspects of that audience, while also hierarchically placing the "human" components at the top. Such filmmaking and movie-watching should be replaced with a critical posthumanism that challenges the relationships between the audience and their technologies, in addition to providing critical tools that can be applied to understanding and potentially resist modern warfare.

This book explores the contributions of psychological, neuroscientific and philosophical perspectives to the design of contemporary cities. Pursuing an innovative and multidisciplinary approach, it addresses the need to re-launch knowledge and creativity as major cultural and institutional bases of human communities. Dwelling is a form of knowledge and re-invention of reality that involves both the tangible dimension of physical places and their mental representation. Findings in the neuroscientific field are increasingly opening stimulating perspectives on the design of spaces, and highlight how our ability to understand other people is strongly related to our corporeity. The first part of the book focuses on the contributions of various disciplines that deal with the spatial dimension, and explores the dovetailing roles that science and art can play from a multidisciplinary perspective. In turn, the second part formulates proposals on how to promote greater integration between the aesthetic and cultural dimension in spatial design. Given its scope, the book will benefit all scholars, academics and practitioners who are involved in the process of planning, designing and building places, and will foster an international exchange of research, case studies, and theoretical reflections to confront the challenges of designing conscious places and enable the development of communities.

This insightful book introduces the most important trends, people, events, and products of popular culture in Latin America and the Caribbean. In recent times, Latin American influences have permeated American culture through music, movies, television, and literature. This sweeping volume serves as a ready-reference guide to pop culture in Central America, South America, and the Caribbean, focusing on Mexico, Brazil, Venezuela, Argentina, Haiti, Cuba, the Dominican Republic, Jamaica, and Costa Rica, among other areas. The work encourages hands-on engagement with the popular culture in these places, making such suggestions as Brazilian films to rent or where to find Venezuelan music on the Internet. To start, the book covers various perspectives and issues of these regions, including the influence of the United States, how the idea of machismo reflects on the portrayal of women in these societies, and the representation of Latino-Caribo cultures in film and other mediums. Entries cover key trends, people, events, and products from the beginning of the 20th century to the present day. Each section gives detailed information and profound insights into some of the more academic-and often controversial-debates on the subject, while the inclusion of the Internet, social media, and video games make the book timely and relevant. Explores controversial issues like censorship, gender, cultural imperialism, and globalization Allows for cross-cultural comparisons between Latin America, the Caribbean, and the United States Enables quick access to areas of interest through well-organized entries and helpful topic introductions Features a discussion on the influence of modern technologies-the Internet, social media, and video games-in Latin American cultures Provides substantial citations and references on each element of popular culture

This collection of papers encourages social and biological scientists to question their presentations of African Americans and to recognize that afrocentricity is important in refocusing portrayals of African Americans. It contrasts the production of these cultural portrayals by the majority of the U.S. population with those by African Americans themselves. It shows the process of creating a racial identity as well as the historical background related to a new evaluation of what it is to be African American in the United States.

This book offers a radical new reading of the 1950s and 60s American literary counterculture. Associated nostalgically with freedom of expression, romanticism, humanist ideals and progressive politics, the period was steeped too in opposite ideas - ideas that doubted human perfectibility, spurned the majority for a spiritually elect few, and had their roots in earlier politically reactionary avant-gardes. Through case studies of icons in the counterculture - the controversial sexual revolutionary Henry Miller, Beat Generation writers Jack Kerouac, Allen Ginsberg and William S. Burroughs and self-proclaimed 'philosopher of hip', Norman Mailer - Guy Stevenson explores a set of paradoxes at its centre: between romantic optimism and modernist pessimism; between brutal rhetoric and emancipatory desires; and between social egalitarianism and spiritual elitism. Such paradoxes, Stevenson argues, help explain the cultural and political worlds these writers shaped - in their time and beyond.

Studies of British Romanticism have traditionally tended to envisage it as an intensely local, indeed insular, phenomenon. Yet, just as the seemingly isolated British Isles became more and more central in international geo-political and economic contexts between the 1780s and the 1830s, so too literature and culture were characterized by an increasingly close and relevant dialogue with foreign and especially Continental European traditions, both past and contemporary. Diego Saglia casts new light on the significantly transformative impact of this dialogue on Britain during the years that saw a return to unimpeded cross-border cultural traffic after the end of the Napoleonic emergency. Focusing on modes of translation and appropriation in a variety of literary and cultural forms, this book reconsiders the notion of the supposed intrinsic insularity of Britain through the lens of new key questions about the national, international and transnational features of Romantic-period literature and culture.

Multicultural education has become one of the most widely discussed concepts in education today. Yet, at the same time, it is also one of the most misunderstood. Now, teachers, students and other interested parties can turn to the Dictionary of Multicultural Education to further their knowledge and understanding of this increasingly popular educational practice. As the authoritative reference work on this subject, the Dictionary includes detailed descriptions of more than 100 key words and phrases that are commonly used in the discussion of multicultural education at both the local school and national levels. Each entry begins with a simple, clear description of a concept or term and moves to a more in-depth discussion, using illustrative examples to bring the concept alive. Also included are brief biographical profiles of scholars, theoreticians and practitioners who have emerged as leaders in this field.

aBlending cinematic, literary, historical, and political analyses, Watching Rape demonstrates that filmic representations of rape are never only about gender and sexual violence, but are narrative devices that also attempt to regulate such conflicts and boundaries of power as race, nationality, and social class. Projansky makes good on her bold claim that representations of rape are ubiquitous, versatile, and utterly central to the history of cinema itself. A scholarly tour de force, a feminist triumph. Two thumbs up!a
--Judith Stacey, University of Southern California

aExciting and original. Sarah Projanskyas work on rape and postfeminism is an important contribution to scholarship in film and cultural studies, as well as womenas studies.a
--Richard Slotkin, author of "Gunfighter Nation"

a"Watching Rape" is a compelling account of the role of the rape in making meaning and re-inscribing inequalities within visual media, and as such it is a necessary and valuable research contribution. a
--Leslie Kern, School of Womenas Studies, York University

aSarah Projanskyas work is distinctive for its theoretical clarity and interdisciplinary feminist framework. She urges us to think deeply about the ways in which media shape our understandings of sexual violence. Watching Rape is a powerful, historically grounded, incisive analysis of the representation of sexual violence.a
--Rosa Linda Fregoso, University of California-Santa Cruz

Looking at popular culture from 1980 to the present, feminism appears to be "over": that is, according to popular critics we are in an era of "postfeminism" in which feminism has supposedly already achieved equality for women.

Not so, saysSarah Projansky. In Watching Rape, Projansky undermines this complacent view in her fascinating and thorough analysis of depictions of rape in U.S. film, television, and independent video. Through a cultural studies analysis of such films as Thelma and Louise, Daughters of the Dust, and She's Gotta Have It, and television shows like ER, Ally McBeal, Beverly Hills 90210, and various made-for-tv movies, Projansky challenges us to see popular culture as a part of our everyday lives and practices, and to view that culture critically. How have media defined rape and feminism differently over time? How do popular narratives about rape also communicate ideas about gender, race, class, nationality, and sexuality? And, what is the future of feminist politics, theory, and criticism with regard to issues of sexual violence, postfeminism, and popular media?

The first study to address the relationship between rape and postfeminism, and one of the most detailed and thorough analyses of rape in 25 years, Watching Rape is a crucial contribution to contemporary feminism.

Urban agriculture is increasingly considered an important part of creating just and sustainable cities. Yet the benefits that many people attribute to urban agriculture-fresh food, green space, educational opportunities-can mask structural inequities,thereby making political transformation harder to achieve. Realizing social and environmental justice requires moving beyond food production to address deeper issues such as structural racism, gender inequity, and economic disparities. Beyond the Kale argues that urban agricultural projects focused explicitly on dismantling oppressive systems have the greatest potential to achieve substantive social change. Through in-depth interviews and public forums with some of New York City's most prominent urban agriculture activists and supporters, Kristin Reynolds and Nevin Cohen illustrate how some urban farmers and gardeners not only grow healthy food for their communities but also use their activities and spaces to disrupt the dynamics of power and privilege that perpetuate inequity. Addressing a significant gap in the urban agriculture literature, Beyond the Kale prioritizes the voices of people of colour and women-activists and leaders whose strategies have often been underrepresented within the urban agriculture movement-and it examines the roles of scholarship in advancing social justice initiatives.

Since Toy Story, its first feature in 1995, Pixar Animation Studios has produced a string of commercial and critical successes including Monsters, Inc.; WALL-E; Finding Nemo; The Incredibles; Cars; and Up. In nearly all of these films, male characters are prominently featured, usually as protagonists. Despite obvious surface differences, these figures often follow similar narratives toward domestic fulfillment and civic engagement. However, these characters are also hypermasculine types whose paths lead to postmodern social roles more revelatory of the current "crisis" that sociologists and others have noted in boy culture. In Pixar's Boy Stories: Masculinity in a Postmodern Age, Shannon R. Wooden and Ken Gillam examine how boys become men and how men measure up in films produced by the animation giant. Offering counterintuitive readings of boy culture, this book describes how the films quietly but forcefully reiterate traditional masculine norms in terms of what they praise and what they condemn. Whether toys or ants, monsters or cars, Pixar's males succeed or fail according to the "boy code," the relentlessly policed gender standards rampant in American boyhood. Structured thematically around major issues in contemporary boy culture, the book discusses conformity, hypermasculinity, social hierarchies, disability, bullying, and an implicit critique of postmodern parenting. Unprecedented in its focus on Pixar and boys in its films, this book offers a valuable perspective to current conversations about gender and cinema. Providing a critical discourse about masculine roles in animated features, Pixar's Boy Stories will be of interest to scholars of film, media, and gender studies and to parents.

The public image of genetics research has undergone a remarkable transformation since the 1950s, from a suspect brand of research tainted by eugenics to a thriving, well-funded, and "popular" field of biomedicine. Still, despite enormous scientific advances in DNA technology and its ability to sustain large areas of the science industry, social, legal, and popular opinion about genetics remains highly ambivalent.

In Imagenation, historian of science Jose Van Dijck examines the role of images and imagination in popular representations fo the new genetics since the late 1950s. Taking us through a vast range of media--from general interest magazines to science fiction to public relations materials--he demonstrates how popular representations of genetics do not simply reflect the advancement of genetic technology. Instead, cultural accounts of genetics are taking on an important role in the very structure of scientific thinking, with many groups--environmentalists, feminists, entrepreneurs--influencing this process.

From news stories of DNA strings escaping from our laboratories to the ongoing debates over bioethics, from James Watson and "The Double Helix" to the Human Genome Project, Van Dijck Portrays the "imaginary" tools of genetics as players in a theater of representation--a multilayered contest in which special interest groups and professional organizations mobilize images in a heated debate over the meaning of genetics. Compelling and insightful, Imagenation unravels this phenomenon, revealing how ideology shapes the cultural forms through which we make sense of scientific progress.

View the Table of Contents.
Read the Introduction.

"Way and Judy Chu have put together an excellent book on explorations into the lives of adolescent boys. The essays are rich in diversity, not only in the populations of boys studied, but also in research methodology and theoretical perspective."--"Choice"

"Empirical research on the lives and behavior of adolescent boys from a variety of ethnic and class backgrounds."
--"The Chronicle"

"The volume explores the experiences of boys who have been excluded from previous developmental research and also challenges the existing stereotypes about boys."
--"NYU Today"

"Brings together a coherent and consistent body of literature on a topic that is often relegated to a single chapter or afterthought in similar books and edited volumes...."Adolescent Boys" challenges the limited and often skewed male images perpetuated by the media, superordinant male groupings, and Western men by giving voice to adolexcent boys growing up in diverse cultures of boyhood."
--"Harvard Educational Review"

A flurry of best-selling works has recently urged us to rescue and protect boys. They have described how boys are failing at school, acting out, or shutting down emotionally. Lost in much of the ensuing public conversation are the boys themselves--the texture of their lives and the ways in which they resist stereotypical representations of them.

Most of this work on boys is based primarily on middle class, white boys. Yet boys from poor and working class families as well as those from African American, Latino, and Asian American backgrounds need to be understood in their own terms and not just as a contrast to white or middle classboys. Adolescent Boys brings together the most up-to-date empirical research focused on understanding the development of boys from diverse racial, ethnic, and socioeconomic backgrounds.

The authors show how the contexts of boys' lives, such as the schools they attend shape their identities and relationships. The research in this book will help professionals and parents understand the diversity and richness of boys' experiences.

Multiplying Worlds argues that modern forms of virtual reality first appear in the urban/commercial milieu of London in the late eighteenth- and early nineteenth-century (1780-1830). It develops a revisionary account of relations between romanticism and popular entertainments, 'high' and 'low' literature, and verbal and visual virtual realities during this period. The argument is divided into three parts. The first, 'From the Actual to the Virtual', focuses on developments during the period from 1780 to 1795, as represented by Robert Barker's Panorama, Jeremy Bentham's Panopticon, and James Graham's Temple of Health and Hymen. The second part, 'From Representation to Poiesis', extends the study of late eighteenth- and early nineteenth-century virtual realities to include textual media. It considers the relation between textual and visual virtual-realities, while also introducing the Palace of Pandemonium and Satan/Prometheus as key figures in late eighteenth-century explorations of the implications of virtual reality. There are chapters on Ann Radcliffe's The Mysteries of Udolpho, Beckford's Fonthill Abbey, the Phantasmagoria, and Romantic representations of Satan. The book's third part, 'Actuvirtuality and Virtuactuality', provides an introduction to the Romantics' remarkably diverse (and to this point rarely studied) engagements with the virtual. It focuses on attempts to describe or indirectly present the cultural, material, or psychological apparatuses that project the perceptual world; reflections on the epistemological, ethical and political paradoxes that arise in a world of actuvirtuality and virtuactuality; and experiments in the construction of virtual worlds that, like those of Shakespeare (according to Coleridge) are not bound by 'the iron compulsion of [everyday] space and time'.

Take the Cannoli is a moving and wickedly funny collection of personal stories stretching across the immense landscape of the American scene. Vowell tackles subjects such as identity, politics, religion, art, and history with a biting humor. She searches the streets of Hoboken for traces of the town's favorite son, Frank Sinatra. She goes under cover of heavy makeup in an investigation of goth culture, blasts cannonballs into a hillside on a father-daughter outing, and maps her family's haunted history on a road trip down the Trail of Tears. Vowell has an irresistible voice -- caustic and sympathetic, insightful and double-edged -- that has attracted a loyal following for her magazine writing and radio monologues on This American Life.

In the broad spectrum of popular culture, one can be a fan of just about anything: comic books, television shows, fantasy novels, movie franchises, musical artists, and so on. Because fans are fluid and ever-changing, however, defining them poses a challenge. As a result, too few scholars have yet to focus on the impact of gender in media consumption, leading to a limited portrait of what male and female fans look for. In Fan Girls and the Media: Creating Characters, Consuming Culture, Adrienne Trier-Bieniek has assembled a collection of essays that demonstrate the gendered aspect of fandom and explore the ways different forms of media challenge stereotypical ideals of how culture is consumed. Contributors examine a wide range of fan issues-from gendered stereotypes in the Star Trek and Twilight franchises to gender roles in Tyler Perry films and The Real Housewives of Atlanta. Other essays look at the female comedy fan community, the appeal of avenging-woman characters written by men, and the use of social media by women in the video-game culture. This collection describes how gender is present in fandom, demonstrating the need to combat the marginalization of female identities in various cultural outlets. Fan Girls and the Media will be of interest to anyone studying fandom but also students and scholars of sociology, media, and gender studies.