Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn't aim to establish yet another theory within the field of masculism or men's studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity.

Derrida and Africa: Jacques Derrida as a Figure for African Thought takes up Jacques Derrida as a thought in relation to Africa, with a focus on Derrida’s writings specifically on Africa, influenced in part by his childhood in El Biar. From chapters that take up Derrida as Mother to contemplations on how to situate Derrida in relation to other African philosophers, from essays that connect deconstruction and diaspora to a chapter that engages the ways in which Derrida—especially in a text such as Monolingualism of the Other Or the Prosthesis of Origin—is haunted by place to a chapter that locates Derrida firmly in postapartheid South Africa, Derrida in/and Africa is the insistent line of inquiry. Edited by Grant Farred, this collection asks: What is Derrida to Africa?, What is Africa to Derrida?, and What is this specter called Africa that haunts Derrida?

Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.

Derrida and Africa takes up Jacques Derrida as a figure of thought in relation to Africa, with a focus on Derrida's writings specifically on Africa, which were influenced in part by his childhood in El Biar. From chapters that take up Derrida as Mother to contemplations on how to situate Derrida in relation to other African philosophers, from essays that connect deconstruction and diaspora to a chapter that engages the ways in which Derrida-especially in a text such as Monolingualism of the Other: or, the Prosthesis of Origin-is haunted by place to a chapter that locates Derrida firmly in postapartheid South Africa, Derrida in/and Africa is the insistent line of inquiry. Edited by Grant Farred, this collection asks: What is Derrida to Africa?, What is Africa to Derrida?, and What is this specter called Africa that haunts Derrida?

Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.