This book explores the impact of brutalist aesthetics on contemporary capitalism, emphasizing the blurring of natural and artificial realms and advocates Afro-diasporic thought as a solution for societal transformation.

Eminent social and critical theorist Achille Mbembe invokes the architectural aesthetic of brutalism in his latest book to describe society’s current moment, caught up in the pathos of demolition and production on a planetary scale. Just as brutalist architecture creates an affect of overwhelming weight and destruction, Mbembe contends that contemporary capitalism crushes and dominates all spheres of existence. In our digital, technologically focused era, capitalism has produced a becoming-artificial of humanity and the becoming-human of machines. This blurring of the natural and artificial presents a planetary existential threat in which contemporary society’s goal is to precipitate the mutation of the human species into a condition that is at once plastic and synthetic.

Mbembe argues that Afro-diasporic thought presents the only solution for breaking the totalizing logic of contemporary capitalism: repairing that which is broken, developing a new planetary consciousness, and reforming a community of humans in solidarity with all living things.

An overview of the lost peoples and cultures who flourished and fought for survival alongside the Egyptians, Greeks and Romans.

Who were the Philistines? What was a Pyrrhic victory?
Were the Vandals really vandals?
Why should you speak to a Samaritan?

Beyond the Greeks, Romans and Hebrews of the Classical and biblical eras, a rich diversity of peoples helped lay the foundations of the modern world. Philip Matyszak brings to life the cultures and individuals that made up the busy, brawling multicultural mass of humanity that emerged from the ancient Middle East and spread across the Mediterranean and Europe. He explores the origins of forty forgotten peoples, their great triumphs and defeats, and considers the legacy they have left to us today, whether it be in fine art or everyday language.

The 1960s saw the emergence in the Netherlands of a generation of avant-garde musicians (including figures such as Louis Andriessen, Willem Breuker, Reinbert de Leeuw and Misha Mengelberg) who were to gain international standing and influence as composers, performers and teachers, and who had a defining impact upon Dutch musical life. Fundamental to their activities in the sixties was a pronounced commitment to social and political engagement. The lively culture of activism and dissent on the streets of Amsterdam prompted an array of vigorous responses from these musicians, including collaborations with countercultural and protest groups, campaigns and direct action against established musical institutions, new grassroots performing associations, political concerts, polemicising within musical works, and the advocacy of new, more 'democratic' relationships with both performers and audiences. These activities laid the basis for the unique new music scene that emerged in the Netherlands in the 1970s and which has been influential upon performers and composers worldwide. This book is the first sustained scholarly examination of this subject. It presents the Dutch experience as an exemplary case study in the complex and conflictual encounter of the musical avant-garde with the decade's currents of social change. The narrative is structured around a number of the decade's defining topoi: modernisation and 'the new'; anarchy; participation; politics; self-management; and popular music. Dutch avant-garde musicians engaged actively with each of these themes, but in so doing they found themselves faced with distinct and sometimes intractable challenges, caused by the chafing of their political and aesthetic commitments. In charting a broad chronological progress from the commencement of work on Peter Schat's Labyrint in 1961 to the premiere of Louis Andriessen's Volkslied in 1971, this book traces the successive attempts of Dutch avant-garde musicians to reconcile the era's evolving social agendas with their own adventurous musical practice.

When Muslim rule in Kashmir ended in 1820, Sikh and later Hindu Dogra Rulers gained power, but the country was still largely influenced by Sunni religious orthodoxy. This book traces the impact of Sunni power on Shi'i society and how this changed during the nineteenth and early twentieth centuries. The book identifies a distinctive Kashmiri Shi'i Islam established during this period. Hakim Sameer Hamdani argues that the Shi'i community's religious and cultural identity was fostered through practices associated with the martyrdom of Imam Husayn and his family in Karbala, as well as other rituals of Islam, in particular, the construction and furore surrounding M'arak, the historic imambada (a Shi'i house for mourning of the Imam) of Kashmir's Shi'i. The book examines its destruction, the ensuing Shi'i -Sunni riot, and the reasons for the Shi'i community's internal divisions and rifts at a time when they actually saw the strong consolidation of their identity.

This book offers a new perspective on the making of Afro-Brazilian, African-American and African studies through the interrelated trajectory of E. Franklin Frazier, Lorenzo Dow Turner, Frances and Melville Herskovits in Brazil. The book compares the style, network and agenda of these different and yet somehow converging scholars, and relates them to the Brazilian intellectual context, especially Bahia, which showed in those days much less density and organization than the US equivalent. It is therefore a double comparison: between four Americans and between Americans and scholars based in Brazil.

Art and the Nation State is a wide-ranging study of the reception and critical debate on modernist art from the foundation of the Irish Free State in 1922 to the end of the modernist era in the 1970s. Drawing on art works, media coverage, reviews, writings and the private papers of key Irish and international artists, critics and commentators including Samuel Beckett, Thomas MacGreevy, Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian O'Doherty, the study explores the significant contribution of Irish modernist art to post-independence cultural debate and diverging notions of national Irish identity. Through an analysis of major controversies, the book examines how the reputations of major Irish artists was moulded by the prevailing demands of national identity, modernization and the dynamics of the international art world. Debate about the relevance of the work of leading international modernists such as the Irish-American sculptor, Andrew O'Connor, the French expressionist painter, Georges Rouault, the British sculptor Henry Moore and the Irish born, but ostensibly British, artist Francis Bacon to Irish cultural life is also analysed, as is the equally problematic positioning of Northern Irish artists.

Leonard Moore has been teaching Black history for twenty-five years, mostly to white people. Drawing on decades of experience in the classroom and on college campuses throughout the South, as well as on his own personal history, Moore illustrates how an understanding of Black history is necessary for everyone. With Teaching Black History to White People, which is "part memoir, part Black history, part pedagogy, and part how-to guide," Moore delivers an accessible and engaging primer on the Black experience in America. He poses provocative questions, such as "Why is the teaching of Black history so controversial?" and "What came first: slavery or racism?" These questions don't have easy answers, and Moore insists that embracing discomfort is necessary for engaging in open and honest conversations about race. Moore includes a syllabus and other tools for actionable steps that white people can take to move beyond performative justice and toward racial reparations, healing, and reconciliation.

Digitizing Enlightenment explores how a set of inter-related digital projects are transforming our vision of the Enlightenment. The featured projects are some of the best known, well-funded and longest established research initiatives in the emerging area of 'digital humanities', a field that has, particularly since 2010, been attracting a rising tide of interest from professional academics, the media, funding councils, and the general public worldwide. Advocates and practitioners of the digital humanities argue that computational methods can fundamentally transform our ability to answer some of the 'big questions' that drive humanities research, allowing us to see patterns and relationships that were hitherto hard to discern, and to pinpoint, visualise, and analyse relevant data in efficient and powerful new ways. In the book's opening section, leading scholars outline their own projects' institutional and intellectual histories, the techniques and methodologies they specifically developed, the sometimes-painful lessons learned in the process, future trajectories for their research, and how their findings are revising previous understandings. A second section features chapters from early career scholars working at the intersection of digital methods and Enlightenment studies, an intellectual space largely forged by the projects featured in part one. Highlighting current and future research methods and directions for digital eighteenth-century studies, the book offers a monument to the current state of digital work, an overview of current findings, and a vision statement for future research. Featuring contributions from Keith Michael Baker, Elizabeth Andrews Bond, Robert M. Bond, Simon Burrows, Catherine Nicole Coleman, Melanie Conroy, Charles Cooney, Nicholas Cronk, Dan Edelstein, Chloe Summers Edmondson, the late Richard Frautschi, Clovis Gladstone, Howard Hotson, Angus Martin, Katherine McDonough, Alicia C. Montoya, Robert Morrissey, Laure Philip, Jeffrey S. Ravel, Glenn Roe, and Sean Takats.

Who were the First Americans? Where did they come from? When did they get here? Are they the ancestors of modern Native Americans? These questions might seem straightforward, but scientists in competing fields have failed to convince one another with their theories and evidence, much less Native American peoples. The practice of science in its search for the First Americans is a flawed endeavor, Robert V. Davis tells us. His book is an effort to explain why. Most American history textbooks today teach that the First Americans migrated to North America on foot from East Asia over a land bridge during the last ice age, 12,000 to 13,000 years ago. In fact, that theory hardly represents the scientific consensus, and it has never won many Native adherents. In many ways, attempts to identify the first Americans embody the conflicts in American society between accepting the practical usefulness of science and honoring cultural values. Davis explores how the contested definition of "First Americans" reflects the unsettled status of Native traditional knowledge, scientific theories, research methodologies, and public policy as they vie with one another for legitimacy in modern America. In this light he considers the traditional beliefs of Native Americans about their origins; the struggle for primacy-or even recognition as science-between the disciplines of anthropology and archaeology; and the mediating, interacting, and sometimes opposing influences of external authorities such as government agencies, universities, museums, and the press. Fossil remains from Mesa Verde, Clovis, and other sites testify to the presence of First Americans. What remains unsettled, as The Search for the First Americans makes clear, is not only who these people were, where they came from, and when, but also the very nature and practice of the science searching for answers.

In Necropolitics Achille Mbembe, a leader in the new wave of francophone critical theory, theorizes the genealogy of the contemporary world, a world plagued by ever-increasing inequality, militarization, enmity, and terror as well as by a resurgence of racist, fascist, and nationalist forces determined to exclude and kill. He outlines how democracy has begun to embrace its dark side---what he calls its "nocturnal body"---which is based on the desires, fears, affects, relations, and violence that drove colonialism. This shift has hollowed out democracy, thereby eroding the very values, rights, and freedoms liberal democracy routinely celebrates. As a result, war has become the sacrament of our times in a conception of sovereignty that operates by annihilating all those considered enemies of the state. Despite his dire diagnosis, Mbembe draws on post-Foucauldian debates on biopolitics, war, and race as well as Fanon's notion of care as a shared vulnerability to explore how new conceptions of the human that transcend humanism might come to pass. These new conceptions would allow us to encounter the Other not as a thing to exclude but as a person with whom to build a more just world.

Prostitute, apostle, evangelist-the conversion of Mary Magdalene from sinner to saint is one of the Christian tradition's most compelling stories, and one of the most controversial. The identity of the woman-or, more likely, women-represented by this iconic figure has been the subject of dispute since the Church's earliest days. Much less appreciated is the critical role the Magdalene played in remaking modern Christianity. In a vivid recreation of the Catholic and Protestant cultures that emerged in the sixteenth and seventeenth centuries, The Magdalene in the Reformation reveals that the Magdalene inspired a devoted following among those eager to find new ways to relate to God and the Church. In popular piety, liturgy, and preaching, as well as in education and the arts, the Magdalene tradition provided both Catholics and Protestants with the flexibility to address the growing need for reform. Margaret Arnold shows that as the medieval separation between clergy and laity weakened, the Magdalene represented a new kind of discipleship for men and women and offered alternative paths for practicing a Christian life. Where many have seen two separate religious groups with conflicting preoccupations, Arnold sees Christians who were often engaged in a common dialogue about vocation, framed by the life of Mary Magdalene. Arnold disproves the idea that Protestants removed saints from their theology and teaching under reform. Rather, devotion to Mary Magdalene laid the foundation within Protestantism for the public ministry of women.