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A denunciation of the credentialed elite class that serves
capitalism while insisting on its own progressive heroism
Professional Managerial Class (PMC) elite workers labor in a world
of performative identity and virtue signaling, publicizing an
ability to do ordinary things in fundamentally superior ways.
Author Catherine Liu shows how the PMC stands in the way of social
justice and economic redistribution by promoting meritocracy,
philanthropy, and other self-serving operations to abet an
individualist path to a better world. Virtue Hoarders is an
unapologetically polemical call to reject making a virtue out of
taste and consumption habits. Forerunners: Ideas First is a
thought-in-process series of breakthrough digital publications.
Written between fresh ideas and finished books, Forerunners draws
on scholarly work initiated in notable blogs, social media,
conference plenaries, journal articles, and the synergy of academic
exchange. This is gray literature publishing: where intense
thinking, change, and speculation take place in scholarship.
Dramas of Culture is shaped by twelve carefully interwoven
interdisciplinary essays on the role of performance as inscribed
within contemporary cultural debate. Part One addresses the recent
cultural turn in scholarship and public affairs and offers three
provocative discussions of its genealogy, goals, and shortcomings.
Underpinning these arguments are the key dramatic elements of
language, performativity, and spectacle. Part Two stresses the
constitutive roles of scene and setting, melodrama, and tragic
conflict for literary theory, political thought, and dialectical
philosophy, each with direct bearings on contemporary cultural
studies. Parts Three and Four turn to the intellectual and cultural
significance of specific plays in the Western repertoire. Part
Three examines several major efforts to rethink the nature of
tragedy as a dramatic genre, emphasizing its capacity to reveal the
fragility and provisionality of culture, while Part Four focuses on
prominent examples of the shifting relations among drama, history,
and processes of cultural change.
Dramas of Culture is shaped by twelve carefully interwoven
interdisciplinary essays on the role of performance as inscribed
within contemporary cultural debate. Part One addresses the recent
cultural turn in scholarship and public affairs and offers three
provocative discussions of its genealogy, goals, and shortcomings.
Underpinning these arguments are the key dramatic elements of
language, performativity, and spectacle. Part Two stresses the
constitutive roles of scene and setting, melodrama, and tragic
conflict for literary theory, political thought, and dialectical
philosophy, each with direct bearings on contemporary cultural
studies. Parts Three and Four turn to the intellectual and cultural
significance of specific plays in the Western repertoire. Part
Three examines several major efforts to rethink the nature of
tragedy as a dramatic genre, emphasizing its capacity to reveal the
fragility and provisionality of culture, while Part Four focuses on
prominent examples of the shifting relations among drama, history,
and processes of cultural change.
It's 1980s New York, and though the coke flows freely, money and
glamour are the more powerful intoxicants. While fortunes are being
made in SoHo galleries and on Wall Street, an underclass of
transient drag queens and dandies, club kids and strippers, artists
and actors, models and waitstaff wander the streets, providing the
city's background color, cheap labor and even cheaper
entertainment. The unnamed narrator of Catherine Liu's 1997 novel
"Oriental Girls Desire Romance"--now reprinted by Kaya Press--is a
young Chinese-American woman who skirts the edges of New York
privilege. A refugee both from her Ivy League education and a
family of Maoist ideologues, she navigates the city as a slacker,
temp and exotic dancer, outmaneuvering the ever-present lure of
Prozac. Liu's debut novel recalls the seedy street atmosphere of
Bette Gordon's 1984 film "Variety" through a narrator that is
perceptive, funny and unhinged.
Rethinking the importance of Sigmund Freud's landmark book "The
Interpretation of Dreams" a century after its publication in 1900,
this work brings together psychoanalysts, philosophers, cultural
theorists, film and visual theorists, and literary critics from
several continents in a compilation of the best clinical and
theoretical work being done in psychoanalysis today. It is unique
in convening both theory and practice in productive dialogue,
reflecting on the encounter between psychoanalysis and the
tradition of hermeneutics. Collectively the essays argue that
Freud's legacy has shaped the way we think about not only
psychology and the nature of the self but also our understanding of
politics, culture, and even thought itself.
Contributors: Willy Apollon, Gifric; Karyn Ball, U of Alberta,
Edmonton; Raymond Bellour, Centre National de la Recherche
Scientifique; Patricia Gherovici, Philadelphia Lacan Study Group
and Seminar; Judith Feher-Gurewich, New York U; Jonathan Kahana,
New York U; A. Kiarina Kordela, Macalester College; Pablo
Kovalovsky, Clinica de Borde; Jean Laplanche, U of Lausanne; Laura
Marcus, U of Sussex; Andrew McNamara, Queensland U of Technology;
Claire Nahon; Yun Peng, U of Minnesota; Gerard Pommier, Nantes U;
Jean-Michel Rabate, Princeton U; Laurence A. Rickels, U of
California, Santa Barbara; Avital Ronell, New York U; Elke Siegel,
Yale U; Rei Terada, U of California, Irvine; Klaus Theweleit, U of
Freiburg-im-Breisgau; Paul Verhaege, U of Ghent, Belgium;
Silke-Maria Weineck, U of Michigan.
Catherine Liu is associate professor of comparative literature and
film and media studies at the University of California, Irvine.
John Mowitt is professor and chair ofcultural studies and
comparative literature at the University of Minnesota. Thomas
Pepper is associate professor of cultural studies and comparative
literature at the University of Minnesota. Jakki Spicer received
her Ph.D. in cultural studies and comparative literature from the
University of Minnesota.
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