Philosophy in Multiple Voices invites transactional dialogue, critical imagination, and the desire to travel to enter those discursive spaces where the love of wisdom gets inflected through both lived embodiment and situational history. The text raises significant meta-philosophical questions around the issue of who constitutes the "philosophical we" through a delineation and valorization of multiple philosophical voices-African-American, Afro-Caribbean, Asian-American, Feminist, Latin-American, Lesbian, Native-American and Queer-that set forth complex concerns around canon formation, the relationship between philosophical discursive configurations and issues of gendered, sexed, racial and ethnic identities, the dynamic of shifting philosophical historical trajectories, differential philosophical visions, sensibilities, and philosophical praxes that are still largely underrepresented within the institutional confines of "mainstream" philosophy. The text encourages philosophical heterogeneity as a value that ought to be nurtured.

Reconsidering the dynamics of perceptionUsing cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.

Race and the Cherokee Nation Sovereignty in the Nineteenth Century Fay A. Yarbrough "This book takes on a significant topic in American history in a new way. . . . A wonderful contribution to literatures in the history of marriage, race, and Native American history."--Ann Marie Plane, University of California, Santa Barba "Yarbrough makes an important contribution to the study of relations between American Indians and African-descended people by showing how slaveholding Indian nations, in the context of their relations with their slaves in the nineteenth century, developed a distinctive racial ideology in an effort to restrict citizenship in their nations and protect Indian sovereignty."--Joanne Pope Melish, author of "Disowning Slavery: Gradual Emancipation and "Race" in New England, 1780-1860" "Yarbrough marches to a minefield, crosses it, and emerges having deftly dismantled and examined the explosive topics of sex and gender, race an nationality, custom and law among brown, white, and black people."--"Chronicle of Oklahoma" "We believe by blood only," said a Cherokee resident of Oklahoma, speaking to reporters in 2007 after voting in favor of the Cherokee Nation constitutional amendment limiting its membership. In an election that made headlines around the world, a majority of Cherokee voters chose to eject from their tribe the descendants of the African American freedmen Cherokee Indians had once enslaved. Because of the unique sovereign status of Indian nations in the United States, legal membership in an Indian nation can have real economic benefits. In addition to money, the issues brought forth in this election have racial and cultural roots going back before the Civil War. "Race and the Cherokee Nation" examines how leaders of the Cherokee Nation fostered a racial ideology through the regulation of interracial marriage. By defining and policing interracial sex, nineteenth-century Cherokee lawmakers preserved political sovereignty, delineated Cherokee identity, and established a social hierarchy. Moreover, Cherokee conceptions of race and what constituted interracial sex differed from those of blacks and whites. Moving beyond the usual black/white dichotomy, historian Fay A. Yarbrough places American Indian voices firmly at the center of the story, as well as contrasting African American conceptions and perspectives on interracial sex with those of Cherokee Indians. For American Indians, nineteenth-century relationships produced offspring that pushed racial and citizenship boundaries. Those boundaries continue to have an impact on the way individuals identify themselves and what legal rights they can claim today. Fay Yarbrough teaches history at the University of Oklahoma. 2007 200 pages 6 x 9 7 illus. ISBN 978-0-8122-4056-6 Cloth $59.95s 39.00 World Rights American History, Native American Studies

Light Motives undertakes a long-overdue critical reassessment of German popular cinema, challenging the traditional view of German film history and offering new ways to think about popular cinema in general. Critics rarely associate popular film with German cinema despite the international success of such films as Das Boot (1981), The Never-Ending Story (1984), Run Lola Run (1998), and recent German comedies, all representing a rich body of work outside the parameters of high culture. This very success compels the editors of Light Motives to take an unprecedented look at German popular film across the historical spectrum and to challenge the tendency among critics to divvy up German film, like Germans themselves, into the Good and the Bad. Together the essays reexamine popular film production along with larger cultural, historical, and political meanings suggested by the term "popular." Most critical accounts have focused on the golden era of Weimar film and the New German Cinema of the 1960s and '70s leaving much of popular film by the wayside. This volume attributes the division to such sources as Frankfurt School dictates, Goethe Haus film offerings, and state-funded film production during the 1970s, which promoted high-culture art films to broadcast the success of West German democratization. The essays challenge the traditional shape of German film history, while offering in-depth analyses of films that have until now been beyond the pale of critical attention. What emerges is a "Never-Ending Story" of oft-repeated obsessions, overlapping generic forms, omnipresent or subtle nods to Hollywood, and myriad political concerns irreducible to a unified message or aesthetic form--allbearing witness to the vibrancy of German culture.

Philosophy in Multiple Voices invites transactional dialogue, critical imagination, and the desire to travel to enter those discursive spaces where the love of wisdom gets inflected through both lived embodiment and situational history. The text raises significant meta-philosophical questions around the issue of who constitutes the 'philosophical we' through a delineation and valorization of multiple philosophical voices-African-American, Afro-Caribbean, Asian-American, Feminist, Latin-American, Lesbian, Native-American and Queer-that set forth complex concerns around canon formation, the relationship between philosophical discursive configurations and issues of gendered, sexed, racial and ethnic identities, the dynamic of shifting philosophical historical trajectories, differential philosophical visions, sensibilities, and philosophical praxes that are still largely underrepresented within the institutional confines of 'mainstream' philosophy. The text encourages philosophical heterogeneity as a value that ought to be nurtured.

Reconsidering the dynamics of perceptionUsing cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.

In this innovative study, German and film studies scholar Randall Halle advances the concept of "interzones"--geographical and ideational spaces of transit, interaction, transformation, and contested diversity--as a mechanism for analyzing European cinema.
He focuses especially on films about borders, borderlands, and cultural zones as he traces the development of interzones from the inception of central European cinema to the avant-garde films of today. Throughout, he shows how cinema both reflects and engenders interzones that explore the important questions of Europe's social order: imperialism and nation-building in the late nineteenth and early twentieth centuries; "first contact" between former adversaries (such as East and West Germany) following World War II and the Cold War; and migration, neo-colonialism, and cultural imperialism in the twenty-first century.
Ultimately, Halle argues that today's cinema both produces and reflects imaginative communities. He demonstrates how, rather than simply erasing boundaries, the European Union instead fosters a network of cultural interzones that encourage cinematic exploration of the new Europe's processes and limits of connectivity, tolerance, and cooperation.

In this innovative study, German and film studies scholar Randall Halle advances the concept of "interzones"--geographical and ideational spaces of transit, interaction, transformation, and contested diversity--as a mechanism for analyzing European cinema.
He focuses especially on films about borders, borderlands, and cultural zones as he traces the development of interzones from the inception of central European cinema to the avant-garde films of today. Throughout, he shows how cinema both reflects and engenders interzones that explore the important questions of Europe's social order: imperialism and nation-building in the late nineteenth and early twentieth centuries; "first contact" between former adversaries (such as East and West Germany) following World War II and the Cold War; and migration, neo-colonialism, and cultural imperialism in the twenty-first century.
Ultimately, Halle argues that today's cinema both produces and reflects imaginative communities. He demonstrates how, rather than simply erasing boundaries, the European Union instead fosters a network of cultural interzones that encourage cinematic exploration of the new Europe's processes and limits of connectivity, tolerance, and cooperation.

What is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies.