In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them. In this seminal collection of essays, the first to be devoted to the "pictorial turn", theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood. This book was published as a special issue of Culture, Theory and Critique.

In 1992 W. J. T. Mitchell argued for a "pictorial turn" in the humanities, registering a renewed interest in and prevalence of pictures and images in what had been understood as an age of simulation, or an increasingly extensive and diverse visual culture. However, in what is often characterized as a society of the "spectacle" we still do not know exactly what pictures or images are, what their relation to language is, how they operate on observers and the world, how their history is to be understood, and what is to be done with or about them.

In this seminal collection of essays, the first to be devoted to the "pictorial turn," theorists from across the humanities and social sciences, representing the disciplines of art history, philosophy, geography, media studies, visual studies and anthropology, are brought together with a paleontologist and practising artists to consider amongst other things the relation between pictures and images, the power of landscape, the nature of political images, the status of images in the natural sciences, the "life" of images, and the pictorial uncanny. With these topics in mind, picture theory and iconology exceed in scope the objects of visual culture conventionally understood.

This book was published as a special issue of Culture, Theory and Critique.

This title was first published in 2001: Against Autonomy reassesses Jean-Francois Lyotard's contribution to philosophy and theory, and explores how his work challenges the privileged position of the principle of autonomy in contemporary liberal democratic thinking, as seen in such diverse thinkers as Rawls, Rorty and Fukuyama. Curtis argues that the political models autonomy legitimates are inadequateA for thinking justice. Such models invariably promote self-legislation as the ground of freedom turning the subject away from its prior constitutionA by, and responsibility for, the Other. He explores Lyotard's reading of Kant as well as his responses to Levinas and Heidegger in order to rethink the political. Developing a regulative Idea based on new understandings of heteronomy and an-archyA Curtis shows how Lyotard's argument that there are no criteria for justice does not mean judgement and action fall prey to decisionism and relativism, but that this lack of criteria commits us to a renewed sensitivity to events. Examining Lyotard's work in relation to Arendt's writings on the vita activa, this book explores themes of community, communication and action, suggesting how Lyotard's work calls for an alternative conception of political space. This book will be of particular interest to those studying communitarianism, liberalism, anarchism, post-structuralism and postmodernism, particularly within the context of political philosophy, ethics, and political and social theory. Neal Curtis is Lecturer in Communication Studies, Anglia Polytechnic University at Cambridge, UK

This title was first published in 2001: Against Autonomy reassesses Jean-Francois Lyotard's contribution to philosophy and theory, and explores how his work challenges the privileged position of the principle of autonomy in contemporary liberal democratic thinking, as seen in such diverse thinkers as Rawls, Rorty and Fukuyama. Curtis argues that the political models autonomy legitimates are inadequateA for thinking justice. Such models invariably promote self-legislation as the ground of freedom turning the subject away from its prior constitutionA by, and responsibility for, the Other. He explores Lyotard's reading of Kant as well as his responses to Levinas and Heidegger in order to rethink the political. Developing a regulative Idea based on new understandings of heteronomy and an-archyA Curtis shows how Lyotard's argument that there are no criteria for justice does not mean judgement and action fall prey to decisionism and relativism, but that this lack of criteria commits us to a renewed sensitivity to events. Examining Lyotard's work in relation to Arendt's writings on the vita activa, this book explores themes of community, communication and action, suggesting how Lyotard's work calls for an alternative conception of political space. This book will be of particular interest to those studying communitarianism, liberalism, anarchism, post-structuralism and postmodernism, particularly within the context of political philosophy, ethics, and political and social theory. Neal Curtis is Lecturer in Communication Studies, Anglia Polytechnic University at Cambridge, UK

In the age of Brexit and Donald Trump, the radical right has gained significant popularity, characterized by a rhetoric of xenophobia, discrimination and "hate speech". This book examines why the politics of hate and ideologies of the far-right are on the rise and argues that to counter it we must challenge the sense of social and economic precarity this politics feeds off. Hate in Precarious Times examines five distinct types of precarity, covering threats to a particular way of life; fear of apocalyptic terrorism; the insecurity of austerity, and low-waged jobs in the wake of the Financial Crisis; challenges to privilege; and the spread of disinformation in a "post-truth" age. In this book, Neal Curtis seeks the root of what causes ordinary people to identify with far-right ideologies and asks what can be done to counter the conditions underpinning this.

In the age of Brexit and Donald Trump, the radical right has gained significant popularity, characterized by a rhetoric of xenophobia, discrimination and "hate speech". This book examines why the politics of hate and ideologies of the far-right are on the rise and argues that to counter it we must challenge the sense of social and economic precarity this politics feeds off. Hate in Precarious Times examines five distinct types of precarity, covering threats to a particular way of life; fear of apocalyptic terrorism; the insecurity of austerity, and low-waged jobs in the wake of the Financial Crisis; challenges to privilege; and the spread of disinformation in a "post-truth" age. In this book, Neal Curtis seeks the root of what causes ordinary people to identify with far-right ideologies and asks what can be done to counter the conditions underpinning this.

Idiotism examines the condition of society in late capitalism where the market logic of neoliberalism has become the new 'common sense', taken as the model for the organisation and management of all aspects of social life. Using the Greek word idios, meaning 'private', Neal Curtis calls this privatisation of the world 'idiotism'. Constructing a new vocabulary with which to understand contemporary society, Curtis examines 'idiotism' across the spheres of economics, politics and culture, drawing on the philosophy and political theories of Martin Heidegger, Louis Althusser, Franco Berardi, Jacques Ranciere and Cornelius Castoriadis. Idiotism recasts our conception of the new neoliberal 'common sense', presenting it as not simply a case of false consciousness, but an ontological problem related to our being-in-the-world.

As a man, I'm flesh and blood, I can be ignored, I can be destroyed; but as a symbol... as a symbol I can be incorruptible, I can be everlasting". In the 2005 reboot of the Batman film franchise, Batman Begins, Bruce Wayne articulates how the figure of the superhero can serve as a transcendent icon. It is hard to imagine a time when superheroes have been more pervasive in our culture. Today, superheroes are intellectual property jealously guarded by media conglomerates, icons co-opted by grassroots groups as a four-color rebuttal to social inequities, masks people wear to more confidently walk convention floors and city streets, and bulletproof banners that embody regional and national identities. From activism to cosplay, this collection unmasks the symbolic function of superheroes. Bringing together superhero scholars from a range of disciplines, alongside key industry figures such as Harley Quinn co-creator Paul Dini, The Superhero Symbol provides fresh perspectives on how characters like Captain America, Iron Man, and Wonder Woman have engaged with media, culture, and politics, to become the 'everlasting' symbols to which a young Bruce Wayne once aspired.

Afrofuturism in Black Panther: Gender, Identity, and the Re-making of Blackness, through an interdisciplinary and intersectional analysis of Black Panther, discusses the importance of superheroes and the ways in which they are especially important to Black fans. Aside from its global box office success, Black Panther paves the way for future superhero narratives due to its underlying philosophy to base the story on a narrative that is reliant on Afro-futurism. The film's storyline, the book posits, leads viewers to think about relevant real-world social questions as it taps into the cultural zeitgeist in an indelible way. Contributors to this collection approach Black Panther not only as a film, but also as Afrofuturist imaginings of an African nation untouched by colonialism and antiblack racism: the film is a map to alternate states of being, an introduction to the African Diaspora, a treatise on liberation and racial justice, and an examination of identity. As they analyze each of these components, contributors pose the question: how can a film invite a reimagining of Blackness?

Sovereignty and superheroes marks a major new contribution to the emerging field of comic studies and the growing literature on superheroes. Using a range of critical theorists, the book examines superheroes as sovereigns, addressing amongst other things the complex treatment of law and violence, legitimacy and authority. It examines all the main characters including Superman, Batman, Captain America, Wonder Woman and Iron Man along with a host of other heroes and heroines within the Marvel and DC universes. The book will be of interest to academics and students interested in the intersection between superhero comics, culture and politics. In a century thus far dominated by the war on terror, superheroes offer us the perfect opportunity to think through the nature of sovereignty in such times of emergency. The book not only guides the reader through some of the major story arcs in superhero comics, but also serves as an excellent introduction to a range of writings on the nature of sovereignty. -- .

As a man, I'm flesh and blood, I can be ignored, I can be destroyed; but as a symbol... as a symbol I can be incorruptible, I can be everlasting". In the 2005 reboot of the Batman film franchise, Batman Begins, Bruce Wayne articulates how the figure of the superhero can serve as a transcendent icon. It is hard to imagine a time when superheroes have been more pervasive in our culture. Today, superheroes are intellectual property jealously guarded by media conglomerates, icons co-opted by grassroots groups as a four-color rebuttal to social inequities, masks people wear to more confidently walk convention floors and city streets, and bulletproof banners that embody regional and national identities. From activism to cosplay, this collection unmasks the symbolic function of superheroes. Bringing together superhero scholars from a range of disciplines, alongside key industry figures such as Harley Quinn co-creator Paul Dini, The Superhero Symbol provides fresh perspectives on how characters like Captain America, Iron Man, and Wonder Woman have engaged with media, culture, and politics, to become the 'everlasting' symbols to which a young Bruce Wayne once aspired.