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How are modernity, coloniality, and interimperiality entangled?
Bridging the humanities and social sciences, Anca Parvulescu and
Manuela Boatcă provide innovative decolonial perspectives that aim
to creolize modernity and the modern world-system. Historical
Transylvania, at the intersection of the Habsburg Empire, the
Ottoman Empire, Austria-Hungary, and Russia, offers the platform
for their multi-level reading of the main themes in Liviu
Rebreanu's 1920 novel Ion. Topics range from the question of the
region's capitalist integration to antisemitism and the enslavement
of Roma to multilingualism, gender relations, and religion.
Creolizing the Modern develops a comparative method for engaging
with areas of the world that have inherited multiple, conflicting
imperial and anti-imperial histories.
How are modernity, coloniality, and interimperiality entangled?
Bridging the humanities and social sciences, Anca Parvulescu and
Manuela Boatca provide innovative decolonial perspectives that aim
to creolize modernity and the modern world-system. Historical
Transylvania, at the intersection of the Habsburg Empire, the
Ottoman Empire, Austria-Hungary, and Russia, offers the platform
for their multi-level reading of the main themes in Liviu
Rebreanu's 1920 novel Ion. Topics range from the question of the
region's capitalist integration to antisemitism and the enslavement
of Roma to multilingualism, gender relations, and religion.
Creolizing the Modern develops a comparative method for engaging
with areas of the world that have inherited multiple, conflicting
imperial and anti-imperial histories.
"Welcome to the European family!" When East European countries
joined the European Union under this banner after 1989, they agreed
to the free movement of goods, services, capital, and persons. In
this book, Anca Parvulescu analyzes an important niche in this
imagined European kinship: the traffic in women, or the circulation
of East European women in West Europe in marriage and as domestic
servants, nannies, personal attendants, and entertainers. Analyzing
film, national policies, and an impressive range of work by
theorists from Giorgio Agamben to Judith Butler, she develops a
critical lens through which to think about the transnational
continuum of "women's work." Parvulescu revisits Claude
Levi-Strauss' concept of kinship and its rearticulation by
second-wave feminists, particularly Gayle Rubin, to show that
kinship has traditionally been anchored in the traffic in women.
Reading recent cinematic texts that help frame this, she reveals
that in contemporary Europe, East European migrant women are
exchanged to engage in labor customarily performed by wives within
the institution of marriage. Tracing a pattern of what she calls
Americanization, Parvulescu argues that these women thereby become
responsible for the labor of reproduction. A fascinating cultural
study as much about the consequences of the enlargement of the
European Union as women's mobility, The Traffic in Women's Work
questions the foundations of the notion of Europe today.
Uncovering an archive of laughter, from the forbidden giggle to the
explosive guffaw. Most of our theories of laughter are not
concerned with laughter. Rather, their focus is the laughable
object, whether conceived of as the comic, the humorous, jokes, the
grotesque, the ridiculous, or the ludicrous. In Laughter, Anca
Parvulescu proposes a return to the materiality of the burst of
laughter itself. She sets out to uncover an archive of laughter,
inviting us to follow its rhythms and listen to its tones.
Historically, laughter-especially the passionate burst of
laughter-has often been a faux pas. Manuals for conduct, abetted by
philosophical treatises and literary and visual texts, warned
against it, offering special injunctions to ladies to avoid jollity
that was too boisterous. Returning laughter to the history of the
passions, Parvulescu anchors it at the point where the history of
the grimacing face meets the history of noise. In the civilizing
process that leads to laughter's "falling into disrepute," as
Nietzsche famously put it, we can see the formless, contorted face
in laughter being slowly corrected into a calm, social smile. How
did the twentieth century laugh? Parvulescu points to a gallery of
twentieth-century laughers and friends of laughter, arguing that it
is through Georges Bataille that the century laughed its most
distinct laugh. In Bataille's wake, laughter becomes the passion at
the heart of poststructuralism. Looking back at the century from
this vantage point, Parvulescu revisits four of its most
challenging projects: modernism, the philosophical avant-gardes,
feminism, and cinema. The result is an overview of the twentieth
century as seen through the laughs that burst at some of its most
convoluted junctures.
"Welcome to the European family!" When East European countries
joined the European Union under this banner after 1989, they agreed
to the free movement of goods, services, capital, and persons. In
this book, Anca Parvulescu analyzes an important niche in this
imagined European kinship: the traffic in women, or the circulation
of East European women in West Europe in marriage and as domestic
servants, nannies, personal attendants, and entertainers. Analyzing
film, national policies, and an impressive range of work by
theorists from Giorgio Agamben to Judith Butler, she develops a
critical lens through which to think about the transnational
continuum of "women's work." Parvulescu revisits Claude
Levi-Strauss' concept of kinship and its rearticulation by
second-wave feminists, particularly Gayle Rubin, to show that
kinship has traditionally been anchored in the traffic in women.
Reading recent cinematic texts that help frame this, she reveals
that in contemporary Europe, East European migrant women are
exchanged to engage in labor customarily performed by wives within
the institution of marriage. Tracing a pattern of what she calls
Americanization, Parvulescu argues that these women thereby become
responsible for the labor of reproduction. A fascinating cultural
study as much about the consequences of the enlargement of the
European Union as women's mobility, The Traffic in Women's Work
questions the foundations of the notion of Europe today.
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