This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Under what conditions does 'sensation' become 'sensational'? In the early nineteenth century murder was a staple of the sensationalizing popular press and gruesome descriptions were deployed to make a direct impact on the sensations of the reader. By the end of the century, public concern with the thrills, spills, and shocks of modern life was increasingly articulated in the language of sensation. Media sensationalism contributed to this process and magnified its impact, just as sensation was, in turn, taken up by literature, art and film. In the contemporary world the dramatization of these experiences in an era of media panics over terrorism and paedophilia has taken an overtly melodramatic form, in which battles of good and evil play out across the landscapes of our lives. Sensational Subjects develops an innovative, interdisciplinary approach to exploring these themes, their impact and their implications for understanding the modern world. A companion volume, Sympathetic Sentiments: Affect, Emotion and Spectacle in the Modern World is published simultaneously by Bloomsbury.

"Yuh has composed a complex, provocative, and compassionate portrayal of the experiences of Korean military brides from the 1950s through the 1990s. . . . Delving into how these women face isolation and alienation from both Korean and US societies because of their transnational status, Yuh's masterful history demonstrates that these women have resisted perceptions of both societies and forged communities based on their claiming Korean and US identities as Korean military brides. A wonderful resource... Highly recommended."
--"Choice"

"Ji-Yeon Yuh's book poignantly illustrates the human costs and benefits of militarized migration in the context of American-Korean relations."
--"The Journal of Asian Studies"

"Impeccably researched and seamlessly executed."
--"Bitch Magazine"

"IThis is one of the most compelling books I have read this year...Ji-Yeon Yuh's account is alternately heart breaking and inspiring."
-- "Comparative/World"

"Ji-Yeon Yuh uses a wealth of sources, especially moving oral histories, to tell an important, at times heartbreaking, story of Korean military brides. She takes us beyond the stereotypes and reveals their roles within their families, communities, and Korean immigration to the U.S. Without ignoring their difficult lives, Yuh portrays these women's agency and dignity with skill and compassion."
--K. Scott Wong, Williams College

"Ji-Yeon Yuh's study is to be commended on several counts, not the least of which is the aunique prisma (dust jacket) she gives the contemporary reader into the social and cultural contract between Korea and the United States, clearly a template that we would be advised to heed in these troubledtimes."
-- "The Journal of American History"

"By studying the lives and history of Korean amilitary brides, a Ji-Yeon Yuh pays tribute to an important group that has not received the understanding, attention, and respect that it deserves. Full of compelling stories, Beyond the Shadow of the Camptowns is sure to inspire new ways of thinking about U.S. and especially immigration history, as well as Asian American and Asian history."
--Elaine Kim, University of California at Berkeley

"Where do marriage, diaspora, racism and the politics of global alliances converge? In the dreams and dailiness of the thousands of Korean women living in the United States today. Ji-Yeon Yuh's engaging and revealing book shows us that by listening attentively to the Korean women married to white and black American men, we can become a lot smarter about the realities of globalized living."
--Cynthia Enloe, author of "Maneuvers: the International Politics of Militarizing Women's Lives"

""Beyond the Shadoe of Camptown" is a readable and poignant piece of scholarship. There is much worth praising in this book."
--Brandon Palmer, University of Hawaii at Manoa

"In general, the fluid writing style demonstrates Yuh's background in journalism, and helps explain why this work made its way from dissertation to hardcover so rapidly. It is a study that demands attention from scholars of foreign relations and migration between Korea and the United States, and deserves attention from ethnic studies scholars and immigration scholars as well."--"Journal of American Ethnic History"

"Beyond the Shadow of Camptown: Korean Military Brides in America, immigration historian Ji-Yeon Yuh explores how Koreanwomen relate to American men in these cross-cultural relationships, and how the military link between the dominant U.S. and subservient Korea tends to complicate their marriages, already challenging for many other reasons, with a dose of international politics as well."
--"Korean Quarterly"

"Through compelling oral histories, she traces the lives of women form successive generations of brides."
--"Chronicle of Higher Education"

Since the beginning of the Korean War in 1950, nearly 100,000 Korean women have immigrated to the United States as the wives of American soldiers. Based on extensive oral interviews and archival research, Beyond the Shadow of the Camptowns tells the stories of these women, from their presumed association with U.S. military camptowns and prostitution to their struggles within the intercultural families they create in the United States.

Historian Ji-Yeon Yuh argues that military brides are a unique prism through which to view cultural and social contact between Korea and the U.S. After placing these women within the context of Korean-U.S. relations and the legacies of both Japanese and U.S. colonialism vis A vis military prostitution, Yuh goes on to explore their lives, their coping strategies with their new families, and their relationships with their Korean families and homeland. Topics range from the personal--the role of food in their lives--to the communalthe efforts of military wives to form support groups that enable them to affirm Korean identity that both American and Koreans would deny them.

Relayed with warmth and compassion, this is the first in-depth study of Korean military brides, and is a groundbreaking contribution to AsianAmerican, women's, and "new" immigrant studies, while also providing a unique approach to military history.

Discussions of globalization usually focus on political, economic, and technological transformations, but fail to recognize how we experience these processes in our daily lives, including our most intimate acts and practices. In this volume, anthropologists and sociologists draw on long-term ethnographic research on love, gender, and sexuality in a broad range of regions to discuss how global forces shape marriage, commercial sex, the political economy of intimacy, and lesbian and gay expressions of companionship.

The richly-textured ethnographies provoke a series of questions about emerging vocabularies for friendship and romance; the adoption of cultural forms from faraway places; the emergence of new desires, pleasures, and emotions that circulate as commodities in the global marketplace; and the ways economic processes shape public and private expressions of sexual intimacy.

This study argues that, in early medieval South India, it was in the literary arena that religious ideals and values were publicly contested. While Tamil-speaking South India is today celebrated for its preservation of Hindu tradition, non-Hindu religious communities have played a significant role in shaping the religious history of the region. Among the least understood of such non-Hindu contributions is that of the Buddhists, who are little understood because of the scarcity of remnants of Tamil-speaking Buddhist culture. However, the two exant Buddhist texts in Tamil that are complete - a sixth-century poetic narrative known as the Manimekalai and an eleventh-century treatise on grammar and postics, the Viracoliyam - reveal a wealth of information about their textual communities and their vision of Buddhist life in a diverse and competitive religious milieu. By focusing on these texts, Monius sheds light on their role of literature and literary culture in the information, articulation, and evolution of religious identity and community.

Kitchens are where we cook, clean, cry, talk, laugh, break things. Hugely symbolic - as well as practical - kitchens evoke thoughts of hearth and home, family and domesticity. People today commonly spend more refurbishing their kitchens than refurbishing any other room in the home. On kitchen units alone, annual expenditure in England has been around the billion pound mark for some time. And this only represents part of what people spend on a kitchen. For, when they do up their kitchens, people frequently also buy new machinery and nearly always buy new accessories. To get at the heart of the meaning, design and purpose of the modern kitchen, the author interviewed a sample of seventy four homeowners. She follows them through the process of shopping and purchasing a new kitchen, and she discusses the importance of layout, colour, shape and texture. She explores the dominant role that women play in shaping the appearance of a new kitchen and considers the evolution of the modern kitchen in the context of the consumer age. The first history of the fitted kitchen in England, this innovative new book will appeal to anyone interested in design, sociology, gender studies and cultural history.

At the low-water bridge below Tom Miller Dam, west of downtown Austin, during the summer of his tenth or eleventh year, Ken Roberts had his first encounter with cedar choppers. On his way to the bridge for a leisurely afternoon of fishing, he suddenly found himself facing a group of boys who clearly came from a different place and culture than the middle-class, suburban community he was accustomed to. Rather, "...they looked hard--tanned, skinny, dirty. These were not kids you would see in Austin." When Roberts's fishing companion curtly refused the strangers' offer to sell them a stringer of bluegills, the three boys went away, only to reappear moments later, one of them carrying a club. Roberts and his friend made a hasty retreat. This encounter provoked in the author the question, "Who are these people?" The Cedar Choppers: Life on the Edge of Nothing is his thoughtful, entertaining, and informative answer. Based on oral history interviews with several generations of cedar choppers and those who knew them, this book weaves together the lively, gritty story of these largely Scots-Irish migrants with roots in Appalachia who settled on the west side of the Balcones Fault during the mid-nineteenth century, subsisting mainly on hunting, trapping, moonshining, and, by the early twentieth century, cutting, transporting, and selling cedar fence posts and charcoal. The emergence of Austin as a major metropolitan area, especially after the 1950s, soon brought the cedar choppers and their hillbilly lifestyle into direct confrontation with the gentrified urban population east of the Balcones Fault. This clash of cultures, which provided the setting for Roberts's encounter as a young boy, propels this first book-length treatment of the cedar choppers, their clans, their culture and mores, and their longing for a way of life that is rapidly disappearing.

"An eloquent work. Somer Brodribb not only gives us a feminist critique of postmodernism with its masculinist predeterminants in existentialism, its Freudian footholdings and its Sadean values, but in the very form and texture of the critique, she literally creates new discourse in feminist theory. Brodribb has transcended not only postmodernism but its requirement that we speak in its voice even when criticizing it. She creates a language that is at once poetic and powerfully analytical. Her insistent and compelling radical critique refuses essentialism--from both masculinist thinkers and their women followers. She demystifies postmodernism to reveal that it and its antecedents represent yet another mundane version of patriarchal politics. Ultimately Brodribb returns us to feminist theory with the message that we must refuse to be derivative and continue to originate theory and politics from the condition of women under male domination."
--Kathleen Barry, author of "Female Sexual Slavery"

An iconoclastic work brilliantly undertaken . . . "Nothing Mat(T)ers" magnificently shows that postmodernism is the cultural capital of late patriarchy. It is the art of self- display, the conceit of masculine self and the science of reproductive and genetic engineering in an ecstatic Nietzschean cycle of statis."
--Andre Michel

"Nothing Mat(T)ers" encapsulates in its title the valuelessness of the current academic fad of postmodernism. Somer Brodribb has written a brave and witty book demolishing the gods and goddesses of postmodernism by deconstructing their method and de-centering their subjects and, in the process, has deconstructed deconstructionism and decentered decentering! Thisis a long-awaited and much-needed book from a tough- minded, embodied, and unflinching scholar."
--Janice Raymond

Midway between Billings, Montana, and Yellowstone National Park, tourists encounter the quaint little town of Red Lodge. Here one may see cowboys, Indians, and mountain men roaming a downtown that's on the National Register of Historic Places, attend a rodeo on the 4th of July, or join in a celebration of immigrants during the annual "Festival of Nations." One would hardly guess that until recently Red Lodge was really a down-and-out coal-mining town or that it was populated mainly by white Americans.

In many ways, Red Lodge is typical of western towns that have created new interpretations of their pasts in order to attract tourists through a mix of public pageants and old-timey facades. In Red Lodge and the Mythic West, Montana-born Bonnie Christensen tells how Red Lodge reinvented itself and shows that the "history" a community chooses to celebrate may be only loosely based on what actually happened in the town's past.

Tracing the story of Red Lodge from the 1880s to the present, Christensen tells how a mining town managed to endure the vagaries of the West's unpredictable extractive-industries economy. She connects Red Lodge to a myriad of larger events and historical forces to show how national and regional influences have contributed to the development of local identities, exploring how and why westerners first rejected and then embraced "western" images, and how ethnicity, wilderness, and historic preservation became part of the identity that defined one town.

Christensen takes us behind the main street facades of Red Lodge to tell a story of salesmanship, adaptation, and survival. Combining oral histories, newspapers, government records, and even minutes of organizationmeetings, she shows not only how people have used different interpretations of the past to create a sense of themselves in the present, but also how public memory is created and re-created.

Christensen's shrewd analysis transcends one place to illuminate broader trends in the region and offer a clearer understanding of the motivations behind the creation of "theme towns" throughout America. By explaining how and why we choose various versions of the past to fit who we want to be -- and who we want others to think we are -- she helps us learn more about the role of myths and myth-making in American communities, and in the process learn a little more about ourselves.

In early-twentieth-century motion picture houses, offensive stereotypes of African Americans were as predictable as they were prevalent. Watermelon eating, chicken thievery, savages with uncontrollable appetites, Sambo and Zip Coon were all representations associated with African American people. Most of these caricatures were rendered by whites in blackface.

Few people realize that from 1915 through 1929 a number of African American film directors worked diligently to counter such racist definitions of black manhood found in films like D. W. Griffith's The Birth of a Nation, the 1915 epic that glorified the Ku Klux Klan. In the wake of the film's phenomenal success, African American filmmakers sought to defend and redefine black manhood through motion pictures.

Gerald Butters's comprehensive study of the African American cinematic vision in silent film concentrates on works largely ignored by most contemporary film scholars: African American-produced and -directed films and white independent productions of all-black features. Using these "race movies" to explore the construction of masculine identity and the use of race in popular culture, he separates cinematic myth from historical reality: the myth of the Euro American-controlled cinematic portrayal of black men versus the actual black male experience.

Through intense archival research, Butters reconstructs many lost films, expanding the discussion of race and representation beyond the debate about "good" and "bad" imagery to explore the construction of masculine identity and the use of race as device in the context of Western popular culture. He particularly examines the filmmaking of Oscar Micheaux, the most prolific and controversial of all African American silent film directors and creator of the recently rediscovered Within Our Gates-the legendary film that exposed a virtual litany of white abuses toward blacks.

"Black Manhood on the Silent Screen" is unique in that it takes contemporary and original film theory, applies it to the distinctive body of African American independent films in the silent era, and relates the meaning of these films to larger political, social, and intellectual events in American society. By showing how both white and black men have defined their own sense of manhood through cinema, it examines the intersection of race and gender in the movies and offers a deft interweaving of film theory, American history, and film history.

As Chiasson and his contributors illustrate, trials are media events that can have long-reaching significance. They can, and have, changed the way people think, how institutions function, and have shaped public opinions. While this collection on ten trials is about withcraft, slavery, religion, and radicalism, it is, in many ways, the story of America. Trials are the stuff of news. Those rare moments when justice, or a reasonable facsimile, is meted out. And what offers up more high drama, or melodrama, than a highly publicized trial? Most news events enjoy short life spans. They happen; they are reported; they are quickly forgotten. As Chiasson and his contributors make clear, a trial often is a lingering, living thing that builds in tension. It is, every once in a long while, a modern Shakespearean drama with a twist: The audience becomes members of the cast because, every once in a long while, society finds itself the defendant. Trials can have lasting importance beyond how the public perceives them. A trial can have long-reaching significance if it changes the way people think, or how institutions function, or shapes public opinion. Ten such American trials covering a span of 307 years are covered here. In each, the sociological underpinnings of events often has greater significance than either the crime or the trial. The ten trials included are the Salem witch trials, the Amistad trial, the Sioux Indian Uprising trials, the Ed Johnson/Sheriff Shipp trial, the Big Bill Haywood trial, the Ossian Sweet trial, the Clay Shaw trial, the Manuel Noriega trial, and the Matthew Shepard trial. While the book is about ten crimes, the subsequent trials, and the media coverage of each, it is also a book about witchcraft, about religion, slavery, and radicalism. It paints portraits of a racist America, a capitalistic America, an anarchist America. It relates compelling tales of compassion, greed, stupidity, and hate beginning in 17th-century colonial times and ending in present-day America. In many ways, it is the story of America.

Discussions of globalization usually focus on political, economic, and technological transformations, but fail to recognize how we experience these processes in our daily lives, including our most intimate acts and practices. In this volume, anthropologists and sociologists draw on long-term ethnographic research on love, gender, and sexuality in a broad range of regions to discuss how global forces shape marriage, commercial sex, the political economy of intimacy, and lesbian and gay expressions of companionship.

The richly-textured ethnographies provoke a series of questions about emerging vocabularies for friendship and romance; the adoption of cultural forms from faraway places; the emergence of new desires, pleasures, and emotions that circulate as commodities in the global marketplace; and the ways economic processes shape public and private expressions of sexual intimacy.

This is the first complete study of the relationship between Retranslation and Reception. Although many translation scholars have cited Reception Theory in their work, this is the first systematic study of its relationship to Retranslation. The book starts from the hypothesis that frequent retranslations of the same literary text into the same language may be indicative of its impact in the target culture. The volume encompasses both theory and practical analysis of Retranslation and Reception as mutually dependent concepts. The sixteen chapters relate the translations analysed to their socio-historical contexts in order to assess the impact that they have had on the target culture in terms of the reception of the authors studied, and also explore the relationship that may exist between the appearance of new translations and historical, social or cultural changes.

While many scholars who write about animals deal with animal agency in some way, this volume is the first to position the question of nonhuman agency as the primary focus of inquiry. Section I presents studies of actual animals demonstrating agency; Section II moves agency into new terrain while considering key representations of animal agency in literature; Section III analyzes animals as mediators and as conveyances of human-to-human communication;and Section IV investigates the agency of beings who defy conventional species categories. The Envoi demonstrates how the microscopic polyp is interwoven into notions of agency and mythical superagency. This volume's interdisciplinary explorations press hard on issues of agency to open up space for more questions about how we can understand relationships between the human and the nonhuman.

This is a revised, expanded, and updated edition of the highly successful Visual Culture. Like its predecessor, this new version is about visual literacy, exploring how meaning is both made and transmitted in an increasingly visual world. It is designed to introduce students and other interested readers to the analysis of all kinds of visual text, whether drawings, paintings, photographs, films, advertisements, television or new media forms. The book is illustrated with examples that range from medieval painting to contemporary advertising images, and is written in a lively and engaging style. The first part of the book takes the reader through differing theoretical approaches to visual analysis, and includes chapters on iconology, form, art history, ideology, semiotics and hermeneutics. The second part shifts from a theoretical to a medium-based approach and comprises chapters on fine art, photography, film, television and new media. These chapters are connected by an underlying theme about the complex relationship between visual culture and reality. New for the second edition are ten more theoretically advanced Key Debate sections, which conclude each chapter by provoking readers to set off and think for themselves. Prominent among the new provocateurs are Kant, Baudrillard, Althusser, Deleuze, Benjamin, and Foucault. New examples and illustrations have also been added, together with updated suggestions for further reading. The book draws together seemingly diverse approaches, while ultimately arguing for a polysemic approach to visual analysis. Building on the success of the first edition, this new edition continues to provide an ideal introduction for students taking courses in visual culture and communications in a wide range of disciplines, including media and cultural studies, sociology, art and design.

Taking seriously Jacques Lacan's claim that 'the unconscious is politics', this volume proposes a new understanding of political power, interrogating the assumption that contemporary capitalism functions by tapping into forms of unconscious enjoyment, rather than providing transcendental conditions for the articulation of political meanings and desires. Whether we're aware of it or not, political communication today targets the audience's libidinal response through political and institutional language: in policies, speeches, tweets, social media appearances, gestures and images. Yet does this mean that current power structures no longer need symbolic or ideological frameworks? The authors in this volume think not. Far from demonstrating a shift to a post-ideological age, they argue instead that such methods inaugurate an altogether novel approach to political power. Written by leading scholars from around the world, including Roberto Esposito and Slavoj Zizek, each chapter reflects on contemporary power and inspires consideration of new political potentialities, which our focus on politics in transcendental rather than immanent terms has thus far obscured. In so doing, Capitalism and the New Political Unconscious provides an original and forceful exploration of the centrality of both psychoanalytic theory and the philosophy of immanence to an alternative understanding of the political.

In this carefully researched, thought-provoking book, Geoffrey Hughes examines the trajectory of political correctness and its impact on public life. Focusing on the historical, semantic, and cultural aspects of political correctness, it will intrigue anyone interested in this ongoing debate. * A unique and intriguing journey through the trajectory of political correctness and its impact on public life, focusing on the historical, semantic, and cultural aspects of what PC means* Explores the origins, progress, content and style of political correctness, discussing and analyzing around one hundred terms and lexical formations, from Chaucer and Shakespeare, Marlowe and Swift, to nursery rhymes, rap and Spike Lee films, David Mamet, J. M. Coetzee and Philip Larkin* Offers a detailed semantic analysis of the way that key words have been exploited both to advance the agendas of political correctness and to refute them

"Framing Consciousness in Art" examines how the conscious mind enacts and processes the frame that both surrounds the work of art yet is also shown as an element inside its space. These 'frames-in-frames' may be seen in works by Teniers, Vela zquez, Vermeer, Degas, Rodin, and Cartier-Bresson and in the films of Alfred Hitchcock and Bun uel. The book also deals with framing in a variety of cultural contexts: Indian, Chinese and African, going beyond Euro-American formalist and aesthetic concerns which dominate critical theories of the frame. "Framing Consciousness in Art "shows how the frames-in-frames in these different contexts question notions of vision and representation, linear time, conventional spatial coordinates, binaries of 'internal' consciousness and 'external' world, subject and object, and the precise anatomy of mental states by which we are meant to carve up the territory of consciousness. The phenomenological experience of art is certainly as important as the folk psychology which scientists and philosophers use to taxonomise ordinary first-person modes of subjectivity. Yet art excels in configuring the visual field in order to articulate and sustain a complex network of higher-order thoughts structuring art and consciousness.

Race, religion, language, culture, and national character are full of contradictions. Brazil, the largest country in South America, embodies so much paradox that it defies neat description. This book will help students and general readers dispel stereotypes of Brazil and begin to understand what country's "bigness" means in terms of its land, people, history, society, and cultural expressions. This is the only authoritative yet accessible volume on Brazil that surveys a wide range of important topics, from geography, to social customs, art, architecture, and more. Highlights include discussions of the fluid definitions of race, rituals of candomble, the importance of extended family networks, beach culture, and soccer madness. A chronology and glossary supplement the text.

We know more about the physical body--how it begins, how it responds to illness, even how it decomposes--than ever before. Yet not all bodies are created equal, some bodies clearly count more than others, and some bodies are not recognized at all. In Missing Bodies, Monica J. Casper and Lisa Jean Moore explore the surveillance, manipulations, erasures, and visibility of the body in the twenty-first century. The authors examine bodies, both actual and symbolic, in a variety of arenas: pornography, fashion, sports, medicine, photography, cinema, sex work, labor, migration, medical tourism, and war. This new politicsof visibility can lead to the overexposure of some bodies--Lance Armstrong, Jessica Lynch--and to the near invisibility of others--dead Iraqi civilians, illegal immigrants, the victims of HIV/AIDS and "natural" disasters.

Missing Bodies presents a call for a new, engaged way of seeing and recovering bodies in a world that routinely, often strategically, obscures or erases them. It poses difficult, even startling questions: Why did it take so long for the United States media to begin telling stories about the "falling bodies" of 9/11? Why has the United States government refused to allow photographs or filming of flag-draped coffins carrying the bodies of soldiers who are dying in Iraq? Why are the bodies of girls and women so relentlessly sexualized? By examining the cultural politics at work in such disappearances and inclusions of the physical body the authors show how the social, medical and economic consequences of visibility can reward or undermine privilege in society.

In Imago Mortis: Mediating Images of Death in Late Medieval Culture, Ashby Kinch argues for the affirmative quality of late medieval death art and literature, providing a new, interdisciplinary approach to a well-known body of material. He demonstrates the surprising and effective ways that late medieval artists appropriated images of death and dying as a means to affirm their artistic, social, and political identities. The book dedicates each of its three sections to a pairing of a visual convention (deathbed scenes, the Three Living and Three Dead, and the Dance of Death) and a Middle English literary text (Hoccleve's Lerne for to die, Audelay's Three Dead Kings, and Lydgate's Dance of Death).

This fascinating work provides an enlightening guided tour of the island of Cuba's historical, political, economic, and sociocultural development from the pre-Columbian period to the present. Cuba: A Global Studies Handbook offers a revealing look at a nation that, in its ongoing pursuit of freedom, has been a colonial pawn, a neocolonial paradise for corrupt politicians and dictators, an alluring vacation destination, a defiant Communist holdout and embarrassing thorn in the side of the powerful United States. Drawing heavily on his own research and experiences on the island, the author follows Cuba's political, economic, and sociocultural development from the pre-Columbian period to the present-with an emphasis on the revolutionary period. The book's reference section includes alphabetically organized entries on important people, places, and historical events, as well as shorter sections on Cuban Spanish, national traditions and holidays, cuisines, and important organizations. Also featured is a chart tracing the development of Cuban popular music and a listener's guide to some of the best available recordings. A useful reference section provides a descriptive alphabetical listing of specific information on important people, places, and historical events, as well as sections on Cuban Spanish, etiquette, national habits and traditions, cuisine, holidays, and important organizations Includes a detailed chronology of Cuban history from pre-Columbian times to the present, with emphasis on the revolutionary triumph of the late 1950s and early 1960s, Castro's enduring Communist regime, and the economic crisis of the "special period" that began in Cuba in 1990

Dalya Cohen-Mor examines the evolution of the concept of fate in the Arab world through readings of religious texts, poetry, fiction, and folklore. She contends that belief in fate has retained its vitality and continues to play a pivotal role in the Arabs' outlook on life and their social psychology. Interwoven with the chapters are 16 modern short stories that further illuminate this fascinating topic.

No previous volume has collected as interesting and broad a collection of essays on Canadian discourse and culture. This volume of representative case studies reflects the Canadian experience in terms of discourse, society, and public culture, linking its discussions to larger political and social issues and theories. Topics include:

Constitutional controversies

Cultural sovereignty

Feminist voices

Globalization

Internet issues

Marginalized communities

Nationalism

Nativity

Multidisciplinary perspectives from a mix of established and emerging Canadian studies scholars converge in a highly readable, engaging, and unique book that offers a distinctive portrait of a nation not nearly as well understood as its proximity to the United States might suggest.