Essays and poems exploring the diverse range of the Arab American experience. This collection begins with stories of immigration and exile by following newcomers' attempts to assimilate into American society. Editors Ghassan Zeineddine, Nabeel Abraham, and Sally Howell have assembled emerging and established writers who examine notions of home, belonging, and citizenship from a wide array of communities, including cultural heritages originating from Lebanon, Palestine, Iraq, and Yemen. The strong pattern in Arab Detroit today is to oppose marginalization through avid participation in almost every form of American identity-making. This engaged stance is not a by-product of culture, but a new way of thinking about the US in relation to one's homeland. Hadha Baladuna ("this is our country") is the first work of creative nonfiction in the field of Arab American literature that focuses entirely on the Arab diaspora in Metro Detroit, an area with the highest concentration of Arab Americans in the US. Narratives move from a young Lebanese man in the early 1920s peddling his wares along country roads to an aspiring Iraqi-Lebanese poet who turns to the music of Tupac Shakur for inspiration. The anthology then pivots to experiences growing up Arab American in Detroit and Dearborn, capturing the cultural vibrancy of urban neighborhoods and dramatizing the complexity of what it means to be Arab, particularly from the vantage point of biracial writers. Included in these works is a fearless account of domestic and sexual abuse and a story of a woman who comes to terms with her queer identity in a community that is not entirely accepting. The volume also includes photographs from award-winning artist Rania Matar that present heterogenous images of Arab American women set against the arresting backdrop of Detroit. The anthology concludes with explorations of political activism dating back to the 1960s and Dearborn's shifting demographic landscape. Hadha Baladuna will shed light on the shifting position of Arab Americans in an era of escalating tension between the United States and the Arab region.

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

Most of our expereince is visual. We obtain most of our information and knowledge through sight, whether from reading books and newspapers, from watching television or from quickly glimpsing road signs. Many of our judgements and decisions, concerning where we live, what we shall drive and sit on and what we wear, are based on what places, cars, furniture and clothes look like. Much of our entertainment and recreation is visual, whether we visit art galleries, cinemas or read comics. This book concerns that visual experience. Why do we have the visual experiences we have? Why do the buildings, cars, products and advertisements we see look the way they do? How are we to explain the existence of different styles of paintings, different types of cars and different genres of film? How are we to explain the existence of different visual cultures? This book begins to answer these questions by explaining visual experience in terms of visual culture. The strengths and weaknesses of traditional means of analysing and explaining visual culture are examined and assessed. Using a wide range of historical and contemporary examples, it is argued that the groups which artists and designers form, the audiences and markets which they sell to, and the different social classes which are produced and reproduced by art and design are all part of the successful explanation and critical evaluation of visual culture.

From Louis Brandeis to Robert Bork to Clarence Thomas, the nomination of federal judges has generated intense political conflict. With the coming retirement of one or more Supreme Court Justices--and threats to filibuster lower court judges--the selection process is likely to be, once again, the center of red-hot partisan debate.
In Advice and Consent, two leading legal scholars, Lee Epstein and Jeffrey A. Segal, offer a brief, illuminating Baedeker to this highly important procedure, discussing everything from constitutional background, to crucial differences in the nomination of judges and justices, to the role of the Judiciary Committee in vetting nominees. Epstein and Segal shed light on the role played by the media, by the American Bar Association, and by special interest groups (whose efforts helped defeat Judge Bork). Though it is often assumed that political clashes over nominees are a new phenomenon, the authors argue that the appointment of justices and judges has always been a highly contentious process--one largely driven by ideological and partisan concerns. The reader discovers how presidents and the senate have tried to remake the bench, ranging from FDR's controversial "court packing" scheme to the Senate's creation in 1978 of 35 new appellate and 117 district court judgeships, allowing the Democrats to shape the judiciary for years. The authors conclude with possible "reforms," from the so-called nuclear option, whereby a majority of the Senate could vote to prohibit filibusters, to the even more dramatic suggestion that Congress eliminate a judge's life tenure either by term limits or compulsory retirement.
With key appointments looming on the horizon, Adviceand Consent provides everything concerned citizens need to know to understand the partisan rows that surround the judicial nominating process.

The African Union's Agenda 2063 is ambitious. It advocates for, among others: equitable and people-centred growth and development; eradication of poverty; creation of infrastructure and provision of public goods and services; empowerment of women and youth; promotion of peace and security, and the strengthening of democratic states, and creating participatory and accountable governance institutions. New African Thinkers: Agenda Africa, 2063 presents the thinking of emerging scholars on these critical issues - those on whose shoulders the responsibility rests for taking this agenda forward. The book will be an essential reference for researchers and educators who are interested in Africa's developmental path as designed in the Agenda 2063.

Real Deceptions develops a new theory of realism through close consideration of myriad contemporary art, media, and cultural practices. Rather than focusing on transgressing deceptions which distort reality, the book argues that reality lies within the deceptions themselves. That is to say, realism's political potential emerges not by revealing deception but precisely by staging deceptions-particularly deceptions that imperil the very categories of true and false. In lieu of perceiving deception as an obstacle to truth, it shows how deception functions as the truth's necessary conduit. Categories invoked in realist works, such as trompe l'oeil, illusion, hypervirtuality, and simulation help to establish how realism can be seen as moving from the creation of mere epistemological uncertainty to radical ontologically-based indeterminacy. The book cultivates this schema by considering productive connections between insights from Jacques Lacan and Jacques Ranciere. Real Deceptions not only applies these theoretical frameworks to art and media examples, but also engages in the reverse move of using the "cases" to further the theories. This dual approach points to the ways in which efforts to produce realist representations often give rise to the destabilizing Real.

Gestures of Music Theater: The Performativity of Song and Dance offers new cutting edge essays focusing on Song and Dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theatre, opera, theatre and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner Prize winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. This book considers performativity in relation to Dramaturgy, Transition, Identity, Context, Practice, Community and finally, Writing. The book reveals how the texture of music theatre, containing as it does the gestures of song and dance, is performative in dense, interwoven, dialogical and paradoxical ways, partly caused by the intertextual and interdisciplinary energies of its make-up, partly by its active dynamism in performance. The book's contributors derive methodologies from many disciplines, seeking in many ways to resist and explode discrete discipline-based enquiry. They share methodologies and performance repertoires with discipline-based scholarship from theatre studies, musicology and cultural studies, but there are many other approaches and case studies which we also embrace. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theatre.

Is globalization making our world more equal, or less? Proponents of globalization argue that it is helping and that in a competitive world, no one can afford to discriminate except on the basis of skills. Opponents counter that globalization does nothing but provide a meritocratic patina on a consistently unequal distribution of opportunity. Yet, despite the often deafening volume of the debate, there is surprisingly little empirical work available on the extent to which the process of globalization over the past quarter century has had any effect on discrimination. Tackling this challenge, Discrimination in an Unequal World explores the relationship between discrimination and unequal outcomes in the appropriate geographical and historical context. Noting how each society tends to see its particular version of discrimination as universal and obvious, the editors expand their set of cases to include a broad variety of social relations and practices. However, since methods differ and are often designed for particular national circumstances, they set the much more ambitious and practical goal of establishing a base with which different forms of discrimination across the world can be compared. Deriving from a broad array of methods, including statistical analyses, role-playing games, and audit studies, the book draws many important lessons on the new means by which the world creates social hierarchies, the democratization of inequality, and the disappearance of traditional categories.

The study of emotions and emotional displays has achieved a deserved prominence in recent classical scholarship. The emotions of the classical world can be plumbed to provide a valuable heuristic tool. Emotions can help us understand key issues of ancient ethics, ideological assumptions, and normative behaviors, but, more frequently than not, classical scholars have turned their attention to "social emotions" requiring practical decisions and ethical judgments in public and private gatherings. The emotion of disgust has been unwarrantedly neglected, even though it figures saliently in many literary genres, such as iambic poetry and comedy, historiography, and even tragedy and philosophy. This collection of seventeen essays by fifteen authors features the emotion of disgust as one cutting edge of the study of Greek and Roman antiquity. Individual contributions explore a wide range of topics. These include the semantics of the emotion both in Greek and Latin literature, its social uses as a means of marginalizing individuals or groups of individuals, such as politicians judged deviant or witches, its role in determining aesthetic judgments, and its potentialities as an elicitor of aesthetic pleasure. The papers also discuss the vocabulary and uses of disgust in life (Galli, actors, witches, homosexuals) and in many literary genres: ancient theater, oratory, satire, poetry, medicine, historiography, Hellenistic didactic and fable, and the Roman novel. The Introduction addresses key methodological issues concerning the nature of the emotion, its cognitive structure, and modern approaches to it. It also outlines the differences between ancient and modern disgust and emphasizes the appropriateness of "projective or second-level disgust" (vilification) as a means of marginalizing unwanted types of behavior and stigmatizing morally condemnable categories of individuals. The volume is addressed first to scholars who work in the field of classics, but, since texts involving disgust also exhibit significant cultural variation, the essays will attract the attention of scholars who work in a wide spectrum of disciplines, including history, social psychology, philosophy, anthropology, comparative literature, and cross-cultural studies.

From the Great Game to the present, an international cultural and political biography of one of our most evocative, compelling, and poorly understood narratives of history. The Silk Road is rapidly becoming one of the key geocultural and geostrategic concepts of the twenty-first century. Yet, for much of the twentieth century the Silk Road received little attention, overshadowed by nationalism and its invented pasts, and a world dominated by conflict and Cold War standoffs. In The Silk Road, Tim Winter reveals the different paths this history of connected cultures took towards global fame, a century after the first evidence of contact between China and Europe was unearthed. He also reveals how this remarkably popular depiction of the past took hold as a platform for geopolitical ambition, a celebration of peace and cosmopolitan harmony, and created dreams of exploration and grand adventure. Winter further explores themes that reappear today as China seeks to revive the Silk Roads for the twenty-first century. Known across the globe, the Silk Road is a concept fit for the modern world, and yet its significance and origins remain poorly understood and are the subject of much confusion. Pathbreaking in its analysis, this book presents an entirely new reading of this increasingly important concept, one that is likely to remain at the center of world affairs for decades to come.

Scholars commonly take the Declaration of the Rights of Man and Citizen of 1789, written during the French Revolution, as the starting point for the modern conception of human rights. According to the Declaration, the rights of man are held to be universal, at all times and all places. But as recent crises around migrants and refugees have made obvious, this idea, sacred as it might be among human rights advocates, is exhausted. It's long past time to reconsider the principles on which Western economic and political norms rest. This book advocates for a tradition of political universality as an alternative to the juridical universalism of the Declaration. Insurgent universality isn't based on the idea that we all share some common humanity but, rather, on the democratic excess by which people disrupt and reject an existing political and economic order. Going beyond the constitutional armor of the representative state, it brings into play a plurality of powers to which citizens have access, not through the funnel of national citizenship but in daily political practice. We can look to recent history to see various experiments in cooperative and insurgent democracy: the Indignados in Spain, the Arab Spring, Occupy, the Zapatistas in Mexico, and, going further back, the Paris Commune, the 1917 peasant revolts during the Russian Revolution, and the Haitian Revolution. This book argues that these movements belong to the common legacy of insurgent universality, which is characterized by alternative trajectories of modernity that have been repressed, hindered, and forgotten. Massimiliano Tomba examines these events to show what they could have been and what they can still be. As such he explores how their common legacy can be reactivated. Insurgent Universality analyzes the manifestos and declarations that came out of these experiments considering them as collective works of an alternative canon of political theory that challenges the great names of the Western pantheon of political thought and builds bridges between European and non-European political and social experiments.

'Beautifully written, sumptuously illustrated, constantly fascinating' The Times On 26 November 1922 Howard Carter first peered into the newly opened tomb of an ancient Egyptian boy-king. When asked if he could see anything, he replied: 'Yes, yes, wonderful things.' In Tutankhamun's Trumpet, acclaimed Egyptologist Toby Wilkinson takes a unique approach to that tomb and its contents. Instead of concentrating on the oft-told story of the discovery, or speculating on the brief life and politically fractious reign of the boy king, Wilkinson takes the objects buried with him as the source material for a wide-ranging, detailed portrait of ancient Egypt - its geography, history, culture and legacy. One hundred artefacts from the tomb, arranged in ten thematic groups, are allowed to speak again - not only for themselves, but as witnesses of the civilization that created them. Never before have the treasures of Tutankhamun been analysed and presented for what they can tell us about ancient Egyptian culture, its development, its remarkable flourishing, and its lasting impact. Filled with surprising insights, unusual details, vivid descriptions and, above all, remarkable objects, Tutankhamun's Trumpet will appeal to all lovers of history, archaeology, art and culture, as well as all those fascinated by the Egypt of the pharaohs. 'I've read many books on ancient Egypt, but I've never felt closer to its people' The Sunday Times

Music Downtown Eastside draws on two decades of research in one of North America's poorest urban areas to illustrate how human rights can be promoted through music. Harrison's examination of how gentrification, grant funding, and community organizations affect the success or failure of human rights-focused musical initiatives offers insights into the complex relationship between culture, poverty, and human rights that have global implications and applicability. The book takes the reader into popular music jams and music therapy sessions offered to the poor in churches, community centers and health organizations. Harrison analyzes the capabilities music-making develops, and musical moments where human rights are respected, promoted, threatened, or violated. The book offers insights on the relationship between music and poverty, a social deprivation that diminishes capabilities and rights. It contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices and policy.

Support your learners as they explore Theory of Knowledge (TOK) in line with the new Guide for first teaching in September 2020. Extremely experienced authoring team of examiners, curriculum reviewers and workshop leaders - Sue Bastian, Julian Kitching and Ric Sims. Provides full coverage of the 2020 curriculum Guide including the Core, Optional themes, and Areas of knowledge. Structured to match the new knowledge framework. Examples of knowledge questions to help students recognise and decipher them. Support for the essay and the new exhibition assessment. Illustrations by TOK teacher Gary Goodwin, to add interest and humour.

This book takes a fresh look at the earliest Buddhism texts and offers various suggestions how the teachings in them had developed. Two themes predominate. Firstly, it argues that we cannot understand the Buddha unless we understand that he was debating with other religious teachers, notably brahmins. For example, he denied the existence of a 'soul'; but what exactly was he denying? Another chapter suggests that the canonical story of the Buddha's encounter with a brigand who wore a garland of his victims' fingers probably reflects an encounter with a form of ecstatic religion.;The other main theme concerns metaphor, allegory and literalism. By taking the words of the texts literally - despite the Buddha's warning not to - successive generations of his disciples created distinctions and developed doctrines far beyond his original intention. One chapter shows how this led to a scholastic categorisation of meditation. Failure to understand a basic metaphor also gave rise to the later argument between the Mahayana and the older tradition.;Perhaps most important of all, a combination of literalism with ignorance of the Buddha's allusions to brahminism led buddhists to forget that the B

In the early 1900s, the language of America was becoming colloquial English-the language of the businessman, manager, and professional. Since college and high school education were far from universal, many people turned to correspondence education-that era's distance learning-to learn the art of speaking and writing. By the 1920s and 1930s, thousands of Americans were sending coupons from newspapers and magazines to order Sherwin Cody's 100% Self-correcting Course in the English Language, a patented mail-order course in English that was taken by over 150,000 people.
Cody's ubiquitous signature advertisement, which ran for over forty years, promised a scientifically-tested invention that improved speaking and writing in just 15 minutes a day. Cody's ad explained that people are judged by their English, and he offered self-improvement and self-confidence through the mail.
In this book, linguist Edwin Battistella tells the story of Sherwin Cody and his famous English course, situating both the man and the course in early twentieth century cultural history. The author shows how Cody became a businessman-a writer, grammatical entrepreneur, and mass-marketer whose ads proclaimed "Good Money in Good English" and asked "Is Good English Worth 25 Cents to You?" His course, perhaps the most widely-advertised English education program in history, provides a unique window onto popular views of language and culture and their connection to American notions of success and failure. But Battistella shows Sherwin Cody was also part of a larger shift in attitudes. Using Cody's course as a reference point, he also looks at the self-improvement ethic reflected in such courses and products as theHarvard Classics, The Book of Etiquette, the Book-of-the-Month Club, the U.S. School of Music, and the Charles Atlas and Dale Carnegie courses to illustrate how culture became popular and how self-reliance evolved into self-improvement.

This is the first study of May 68 in fiction and in film. It looks at the ways the events themselves were represented in narrative, evaluates the impact these crucial times had on French cultural and intellectual history, and offers readings of texts which were shaped by it. The chosen texts concentrate upon important features of May and its aftermath: the student rebellion, the workers strikes, the question of the intellectuals, sexuality, feminism, the political thriller, history, and textuality. Attention is paid to the context of the social and cultural history of the Fifth Republic, to Gaullism, and to the cultural politics of gauchisme. The book aims to show the importance of the interplay of real and imaginary in the text(s) of May, and the emphasis placed upon the problematic of writing and interpretation. It argues that re-reading the texts of May forces a reconsideration of the existing accounts of postwar cultural history. The texts of May reflect on social order, on rationality, logic, and modes of representation, and are this highly relevant to contemporary debates on modernity.

The Festival Cities of Edinburgh and Adelaide examines how these cities' world-famous arts events have shaped and been shaped by their long-term interaction with their urban environments. While the Edinburgh International Festival and Adelaide Festival are long-established, prestigious events that champion artistic excellence, they are also accompanied by the two largest open-access fringe festivals in the world. It is this simultaneous staging of multiple events within Edinburgh's Summer Festivals and Adelaide's Mad March that generates the visibility and festive atmosphere popularly associated with both places. Drawing on perspectives from theatre studies and cultural geography, this book interrogates how the Festival City, as a place myth, has developed in the very different local contexts of Edinburgh and Adelaide, and how it is challenged by groups competing for the right to use and define public space. Each chapter examines a recent performative event in which festival debates and controversies spilled out beyond the festival space to activate the public sphere by intersecting with broader concerns and audiences. This book forges an interdisciplinary, comparative framework for festival studies to interrogate how festivals are embedded in the social and political fabric of cities and to assess the cultural impact of the festivalisation phenomenon.