Sexual Disorientations brings some of the most recent and significant works of queer theory into conversation with the overlapping fields of biblical, theological and religious studies to explore the deep theological resonances of questions about the social and cultural construction of time, memory, and futurity. Apocalyptic, eschatological and apophatic languages, frameworks, and orientations pervade both queer theorizing and theologizing about time, affect, history and desire. The volume fosters a more explicit engagement between theories of queer temporality and affectivity and religious texts and discourses.

The contributors to this volume assert the importance of queer kinship to queer and trans theory and to kinship theory. In a contemporary moment marked by the rising tides of neoliberalism, fascism, xenophobia, and homo- and cis-nationalism, they approach kinship as both a horizon and a source of violence and possibility. The contributors challenge dominant theories of kinship that ignore the devastating impacts of chattel slavery, settler colonialism, and racialized nationalism on the bonds of Black and Indigenous people and people of color. Among other topics, they examine the "blood tie" as the legal marker of kin relations, the everyday experiences and memories of trans mothers and daughters in Istanbul, the outsourcing of reproductive labor in postcolonial India, kinship as a model of governance beyond the liberal state, and the intergenerational effects of the adoption of Indigenous children as a technology of settler colonialism. Queer Kinship pushes the methodological and theoretical underpinnings of queer theory forward while opening up new paths for studying kinship. Contributors. Aqdas Aftab, Leah Claire Allen, Tyler Bradway, Juliana Demartini Brito, Judith Butler, Dilara Caliskan, Christopher Chamberlin, Aobo Dong, Brigitte Fielder, Elizabeth Freeman, John S. Garrison, Nat Hurley, Joseph M. Pierce, Mark Rifkin, Poulomi Saha, Kath Weston

Tired of reading HTML books that only make sense after you're an expert? Then it's about time you picked up "Head First HTML with CSS & XHTML" and really learned HTML. You want to learn HTML so you can finally create those Web pages you've always wanted, so you can communicate more effectively with friends, family, fans and fanatic customers. You also want to do it right so you can actually maintain and expand your Web pages over time, and so your Web pages work in all the browsers and mobile devices out there. Oh, and if you've never heard of CSS, that's okay - we won't tell anyone you're still partying like it's 1999 - but if you're going to create Web pages in the 21st century then you'll want to know and understand CSS. Learn the real secrets of creating Web pages, and why everything your boss told you about HTML tables is probably wrong (and what to do instead). Most importantly, hold your own with your co-worker (and impress cocktail party guests) when he casually mentions how his HTML is now strict, and his CSS is in an external style sheet. With "Head First HTML with CSS & XHTML", you'll avoid the embarrassment of thinking Web-safe colors still matter, and the foolishness of slipping a font tag into your pages. Best of all, you'll learn HTML and CSS in a way that won't put you to sleep. If you've read a "Head First" book, you know what to expect: a visually-rich format designed for the way your brain works. Using the latest research in neurobiology, cognitive science, and learning theory, this book will load HTML, CSS, and XHTML into your brain in a way that sticks. So what are you waiting for? Leave those other dusty books behind and come join us in Webville. Your tour is about to begin.

Time Binds is a powerful argument that temporal and sexual dissonance are intertwined, and that the writing of history can be both embodied and erotic. Challenging queer theory's recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, "postfeminist," and "postgay" world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such "queer asynchronies" provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman's argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

This special issue brings together explorations of crip temporality: the ways in which bodily and mental disabilities shape the experience of time. These include needing to use time-consuming adaptive technologies like screen readers, working slowly during a pain flare-up, or only being able to look at a screen for short periods. Through accessibly written essays, art, and poems, contributors explore both the confines of crip temporality and the freedoms it provides. They offer strategies and narratives for navigating the academy as a disabled person; reclaim self-care as a tool for personal survival instead of productivity; and illustrate how crip time is mobilized in service of biopolitical projects. More than just a space of loss and frustration, they argue, crip time also offers liberatory potential: the contributors imagine how justice, connection, and pleasure might emerge from temporalities that center compassion rather than productivity. Contributors Moya Bailey, Amanda Cachia, Maria Elena Cepeda, Eli Clare, Finn Enke, Elizabeth Freeman, Matt Huynh, Alison Kafer, Mimi Khuc, Christine Sun Kim, Jina B. Kim, Leah Lakshmi Piepzna-Samarasinha, Margaret Price, Jasbir Puar, Jake Pyne, Ellen Samuels, Sami Schalk, Michael Snediker

The contributors to this volume assert the importance of queer kinship to queer and trans theory and to kinship theory. In a contemporary moment marked by the rising tides of neoliberalism, fascism, xenophobia, and homo- and cis-nationalism, they approach kinship as both a horizon and a source of violence and possibility. The contributors challenge dominant theories of kinship that ignore the devastating impacts of chattel slavery, settler colonialism, and racialized nationalism on the bonds of Black and Indigenous people and people of color. Among other topics, they examine the "blood tie" as the legal marker of kin relations, the everyday experiences and memories of trans mothers and daughters in Istanbul, the outsourcing of reproductive labor in postcolonial India, kinship as a model of governance beyond the liberal state, and the intergenerational effects of the adoption of Indigenous children as a technology of settler colonialism. Queer Kinship pushes the methodological and theoretical underpinnings of queer theory forward while opening up new paths for studying kinship. Contributors. Aqdas Aftab, Leah Claire Allen, Tyler Bradway, Juliana Demartini Brito, Judith Butler, Dilara Caliskan, Christopher Chamberlin, Aobo Dong, Brigitte Fielder, Elizabeth Freeman, John S. Garrison, Nat Hurley, Joseph M. Pierce, Mark Rifkin, Poulomi Saha, Kath Weston

In Beside You in Time Elizabeth Freeman expands biopolitical and queer theory by outlining a temporal view of the long nineteenth century. Drawing on Foucauldian notions of discipline as a regime that yoked the human body to time, Freeman shows how time became a social and sensory means by which people assembled into groups in ways that resisted disciplinary forces. She tracks temporalized bodies across many entangled regimes-religion, secularity, race, historiography, health, and sexuality-and examines how those bodies act in relation to those regimes. In analyses of the use of rhythmic dance by the Shakers; African American slave narratives; literature by Mark Twain, Pauline Hopkins, Herman Melville, and others; and how Catholic sacraments conjoined people across historical boundaries, Freeman makes the case for the body as an instrument of what she calls queer hypersociality. As a mode of being in which bodies are connected to others and their histories across and throughout time, queer hypersociality, Freeman contends, provides the means for subjugated bodies to escape disciplinary regimes of time and to create new social worlds.

In Beside You in Time Elizabeth Freeman expands biopolitical and queer theory by outlining a temporal view of the long nineteenth century. Drawing on Foucauldian notions of discipline as a regime that yoked the human body to time, Freeman shows how time became a social and sensory means by which people assembled into groups in ways that resisted disciplinary forces. She tracks temporalized bodies across many entangled regimes-religion, secularity, race, historiography, health, and sexuality-and examines how those bodies act in relation to those regimes. In analyses of the use of rhythmic dance by the Shakers; African American slave narratives; literature by Mark Twain, Pauline Hopkins, Herman Melville, and others; and how Catholic sacraments conjoined people across historical boundaries, Freeman makes the case for the body as an instrument of what she calls queer hypersociality. As a mode of being in which bodies are connected to others and their histories across and throughout time, queer hypersociality, Freeman contends, provides the means for subjugated bodies to escape disciplinary regimes of time and to create new social worlds.

Join the cat and the crow in this musical game of chase, nature, love, and life. What can happen when natural enemies befriend one another? Will Cat be able to control her urge to pounce? Will Crow's excuses be enough to get him off the hook? The interior title page contains information for a free download of the original song that inspired the book. You'll want to read and sing along with The Cat and The Crow again and again.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Time Binds is a powerful argument that temporal and sexual dissonance are intertwined, and that the writing of history can be both embodied and erotic. Challenging queer theory's recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, "postfeminist," and "postgay" world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such "queer asynchronies" provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman's argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

In "The Wedding Complex" Elizabeth Freeman explores the significance of the wedding ceremony by asking what the wedding becomes when you separate it from the idea of marriage. Freeman finds that weddings--as performances, fantasies, and rituals of transformation--are sites for imagining and enacting forms of social intimacy other than monogamous heterosexuality. Looking at the history of Anglo-American weddings and their depictions in American literature and popular culture from the antebellum era to the present, she reveals the cluster of queer desires at the heart of the "wedding complex"--longings not for marriage necessarily but for public forms of attachment, ceremony, pageantry, and celebration.
Freeman draws on queer theory and social history to focus on a range of texts where weddings do not necessarily lead to legal marriage but instead reflect yearnings for intimate arrangements other than long-term, state-sanctioned, domestic couplehood. Beginning with a look at the debates over gay marriage, she proceeds to consider literary works by Nathaniel Hawthorne, William Faulkner, Carson McCullers, Vladimir Nabokov, and Edgar Allan Poe, along with such Hollywood films as "Father of the Bride," "The Graduate," and "The Godfather." She also discusses less well-known texts such as Su Friedrich's experimental film "First Comes Love" and the off-Broadway, interactive dinner play "Tony 'n' Tina's Wedding."

Offering bold new ways to imagine attachment and belonging, and the public performance and recognition of social intimacy, "The Wedding Complex" is a major contribution to American studies, queer theory, and cultural studies.

In "The Wedding Complex" Elizabeth Freeman explores the significance of the wedding ceremony by asking what the wedding becomes when you separate it from the idea of marriage. Freeman finds that weddings--as performances, fantasies, and rituals of transformation--are sites for imagining and enacting forms of social intimacy other than monogamous heterosexuality. Looking at the history of Anglo-American weddings and their depictions in American literature and popular culture from the antebellum era to the present, she reveals the cluster of queer desires at the heart of the "wedding complex"--longings not for marriage necessarily but for public forms of attachment, ceremony, pageantry, and celebration.
Freeman draws on queer theory and social history to focus on a range of texts where weddings do not necessarily lead to legal marriage but instead reflect yearnings for intimate arrangements other than long-term, state-sanctioned, domestic couplehood. Beginning with a look at the debates over gay marriage, she proceeds to consider literary works by Nathaniel Hawthorne, William Faulkner, Carson McCullers, Vladimir Nabokov, and Edgar Allan Poe, along with such Hollywood films as "Father of the Bride," "The Graduate," and "The Godfather." She also discusses less well-known texts such as Su Friedrich's experimental film "First Comes Love" and the off-Broadway, interactive dinner play "Tony 'n' Tina's Wedding."

Offering bold new ways to imagine attachment and belonging, and the public performance and recognition of social intimacy, "The Wedding Complex" is a major contribution to American studies, queer theory, and cultural studies.