Feminist Time Against Nation Time offers a series of essays that explore the complex and oftentimes contradictory relationship between feminism and nationalism through a problematization of temporality. Although there has been much recent discussion in the U.S. of the wars in Afghanistan and Iraq and the "War on Terror" as signaling a new period of "permanent war," feminist voices have not been at all prominent in this discussion. This collection considers not only the ways in which public spaces for dissent are limited, but also the ways in which the time for such dissent is cut short. Feminist Time Against Nation Time combines philosophical examinations of "Women's Time" by Julia Kristeva and "The Time of Thought" by Elizabeth Grosz, with essays offering case studies of particular events, including Kelly Oliver's essay on the media coverage of the U.S. wars on terror and in Afghanistan and Iraq, and Betty Joseph's on the anti-colonial uses of "women's time" in the creation of nineteenth-century Indian nationalism. Feminist Time Against Nation Time juxtaposes feminist time against nation time in order to consider temporalities that are at once contrary to, but also drawing toward each other. Yet Hesford and Diedrich also argue that because, as an untimely project, feminism necessarily operates in a different temporality from that of the nation, against-ness is also used to provoke a rupture, a momentary opening up of a disjuncture between the two that will allow us to explore the possibilities of creating a space and time for feminists to think against the current of the present moment.

Memoir is Rosario Ferre's account of her life both as a writer and as a member of a family at the center of the economic and political history of Puerto Rico during the American Century, one hundred years of territorial "non-incorporation" into the United States. The autobiography tells the story of Ferre's transformation from the daughter of a privileged family into a celebrated novelist, poet, and essayist concerned with the welfare of Puerto Ricans, and with the difficulties of being a woman in Puerto Rican society. It is a snapshot of twentieth-century Puerto Rico through the lens of a writer profoundly aware of her social position. It is a picture taken from the perspective of a keen observer of the local history of the island, and of the history of the United States. Included are many photographs that connect Ferre's life with the story of her writing career.

Michel Foucault's theories have played a powerful role in the intellectual life of Latin America. Within Latin American studies such concepts as the consciousness of the intellectual elite (letrados), the archive novel, the foundational fiction, and self-writing - all indebted to Foucault - are now the common currency of critical analysis.
Foucault and Latin America is the first volume to trace the influence of Foucault's theories on power, discourse, government, subjectivity, and sexuality in Latin American thought.

Foucault and Latin America traces the influence of Michel Foucault and his theories on Latin American thought. These studies consider Foucault's influence concerning ideas of power, discourse, government, subjectivity and sexuality.

Among the elements that define the classic film noir -- chiaroscuro lighting, voice-over narration, and such archetypal characters as the world-weary private eye and the femme fatale -- perhaps no element is more responsible for the genre's continued popularity among movie buffs, filmmakers, and critics than the palpable sense of anxiety that emanates from the screen. Because the genre emerged in the shadow of the Second World War, this profound psychological and philosophical unease is usually ascribed either to postwar fears about the atomic bomb or to the reactions of returning soldiers to a new social landscape. In Noir Anxiety, however, Kelly Oliver and Benigno Trigo interpret what has been called the "free-floating anxiety" of film noir as concrete apprehensions about race and sexuality.

Applying feminist and postcolonial psychoanalytic theory to traditional noir films (Murder, My Sweet; The Lady from Shanghai; Vertigo; and Touch of Evil) and the "neo-noirs" of the 1970s, 1980s, and 1990s (Chinatown, Devil in a Blue Dress, and Bound), the authors uncover a rich array of unconscious worries and desires about ambiguous sexual, racial, and national identities, often displaced onto these films' narrative and stylistic components. In particular, Oliver and Trigo focus on the looming absence of the mother figure within the genre and fears about maternal sexuality and miscegenation. Drawing on the work of Freud and Julia Kristeva, Noir Anxiety locates film noir's studied ambivalence toward these critical themes within the genre's social, historical, and cinematic context.