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The Routledge Companion to Art and Politics offers a thorough
examination of the complex relationship between art and politics,
and the many forms and approaches the engagement between them can
take. The contributors - a diverse assembly of artists, activists,
scholars from around the world - discuss and demonstrate ways of
making art and politics legible and salient in the world. As such
the 32 chapters in this volume reflect on performing and visual
arts; music, film and new media; as well as covering social
practice, community-based work, conceptual, interventionist and
movement affiliated forms. The Companion is divided into four
distinct parts: Conceptual Cartographies Institutional
Materialities Modalities of Practice Making Publics Randy Martin
has assembled a collection that ensures that readers will come away
with a wider view of what can count as art and politics; where they
might find it; and how it moves in the world. The diversity of
perspectives is at once challenging and fortifying to those who
might dismiss political art on the one hand as not making
sufficient difference and on the other to those embracing it but
seeking a means to elaborate the significance that it can make in
the world. The Routledge Companion to Art and Politics brings
together a range of issues and approaches and encourages critical
and creative thinking about how art is produced, perceived, and
received.
Artistic Citizenship asks the question: how do people in the
creative arts prepare for, and participate in, civic life? This
volume, developed at NYU 's Tisch School, identifies the question
of artistic citizenship to explore civic identity the role of the
artist in social and cultural terms.
With contributions from many connected to the Tisch School
including: novelist E.L. Doctorow, performance artist Karen Finley,
theatre guru Richard Schechner, and cultural theorist Ella Shohat,
this book is indispensable to anyone involved in arts education or
the creation of public policy for the arts.
Artistic Citizenship asks the question: how do people in the
creative arts prepare for, and participate in, civic life? This
volume, developed at NYUa (TM)s Tisch School, identifies the
question of artistic citizenship to explore civic identity a " the
role of the artist in social and cultural terms.
With contributions from many connected to the Tisch School
including: novelist E.L. Doctorow, performance artist Karen Finley,
theatre guru Richard Schechner, and cultural theorist Ella Shohat,
this book is indispensable to anyone involved in arts education or
the creation of public policy for the arts.
The Routledge Companion to Art and Politics offers a thorough
examination of the complex relationship between art and politics,
and the many forms and approaches the engagement between them can
take. The contributors - a diverse assembly of artists, activists,
scholars from around the world - discuss and demonstrate ways of
making art and politics legible and salient in the world. As such
the 32 chapters in this volume reflect on performing and visual
arts; music, film and new media; as well as covering social
practice, community-based work, conceptual, interventionist and
movement affiliated forms. The Companion is divided into four
distinct parts: Conceptual Cartographies Institutional
Materialities Modalities of Practice Making Publics Randy Martin
has assembled a collection that ensures that readers will come away
with a wider view of what can count as art and politics; where they
might find it; and how it moves in the world. The diversity of
perspectives is at once challenging and fortifying to those who
might dismiss political art on the one hand as not making
sufficient difference and on the other to those embracing it but
seeking a means to elaborate the significance that it can make in
the world. The Routledge Companion to Art and Politics brings
together a range of issues and approaches and encourages critical
and creative thinking about how art is produced, perceived, and
received.
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Your Forever Dog (Hardcover)
Leslie Yerkes, Randy Martin; Illustrated by Traci Harmon-Hay
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R616
Discovery Miles 6 160
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Ships in 10 - 15 working days
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In Critical Moves Randy Martin sets in motion an inquiry into the
relationship between dance, politics, and cultural theory. Drawing
on his own experiences as a dancer as well as his observations as a
cultural critic and social theorist, Martin illustrates how the
study and practice of dance can reanimate arrested prospects for
progressive politics and social change. From experimental and
concert dance to more popular expressions, Martin engages a range
of performances and demonstrates how a critical reflection on dance
helps promote fluency in the language of mobilization that
political theory alludes to yet rarely speaks. He explores how Bill
T. Jones's Last Supper at Uncle Tom's Cabin/The Promised Land
defies attempts to separate social ideas from aesthetic concerns
and celebrates multiculturalism in the face of a singular national
culture; he studies the choreography in rapper Ice Cube's video
"Wicked," which confronts racialized depictions of violent crime;
and he discusses how racial difference is negotiated by analyzing a
hip hop aerobics class in a nonblack environment. Revealing how
mastery of modern dance technique teaches an individual body to
express cultural difference and display its intrinsic diversity,
Critical Moves concludes with a reflection on the contribution
dance studies can make to other fields within cultural studies and
social sciences. As such it becomes an occasion to rethink the
terms of history and agency, multiculturalism and nationalism,
identity and political economy. This book will appeal not only to
scholars and practitioners of dance, but also to a wide
cross-section of people concerned with the study of political
theory and the history of social movements.
Grudges. We've all held them. Some of us have been the target of
them. What impact does a grudge have on your life? How does holding
that grudge prevent you from moving forward to become the person
you would have otherwise been? In Heart of the Desert, two people
have been horribly wronged and they can't let go of the anger they
feel for the betrayal they experienced. As their lives intersect
and become interwoven, will they help or hinder each other in
letting go of their anger and their grudges? Their journey spans
three years and follows them from the Louisiana Bayou, to San
Francisco and finally to Mina, Nevada, situated in the heart of the
desert.
Catastrophes ranging from the travesties of financial markets and
the explosion of the Deepwater Horizon oil well to the tsunami that
struck northern Japan and the levees breaking in New Orleans are
examples of the limits of knowledge. Author Randy Martin insists
that the expertise erected to prevent these natural and social
disasters failed in each case. In Knowledge LTD, Martin explores
how both the limits of knowledge and the social constructions of
culture reflect the way we organize social life in the face of
disasters and their aftermath. He examines this crisis of knowledge
as well as the social movements that rose up in its wake. Martin
not only treats derivatives as financial contracts for pricing
risk, but also shows how the derivative works in economic terms,
where the very unity of the economy is undone. Knowledge LTD
ultimately points to a more comprehensive reordering of the once
separate spheres of economy, polity, and culture. Martin provides a
new way of understanding the social significance of the
all-pervasive derivative logic.
Derivatives were responsible for one of the worst financial
meltdowns we have ever seen, one from which we have not yet fully
recovered. However, they are likewise capable of generating some of
the most incredible wealth we have ever seen. This book asks how we
might ensure the latter while avoiding the former. Looking past the
usual arguments for the regulation or abolition of derivative
finance, it asks a more probing question: what kinds of social
institutions and policies would we need to put in place to both
avail ourselves of the derivative's wealth production and make sure
that production benefits all of us? To answer that question, the
contributors to this book draw upon their deep backgrounds in
finance, social science, art, and the humanities to create a new
way of understanding derivative finance that does justice to its
social and cultural dimensions. They offer a two-pronged analysis.
First, they develop a social understanding of the derivative that
casts it in the light of anthropological concepts such as the gift,
ritual, play, dividuality, and performativity. Second, they develop
a derivative understanding of the social, using financial concepts
such as risk, hedging, optionality, and arbitrage to uncover new
dimensions of contemporary social reality. In doing so, they
construct a necessary, renewed vision of derivative finance as a
deeply embedded aspect not just of our economics but our culture.
In recent decades, dance has become a vehicle for querying
assumptions about what it means to be embodied, in turn
illuminating intersections among the political, the social, the
aesthetical, and the phenomenological. The Oxford Handbook of Dance
and Politics edited by internationally lauded scholars Rebekah
Kowal, Gerald Siegmund, and the late Randy Martin presents a
compendium of newly-commissioned chapters that address the
interdisciplinary and global scope of dance theory - its political
philosophy, social movements, and approaches to bodily difference
such as disability, postcolonial, and critical race and queer
studies. In six sections 30 of the most prestigious dance scholars
in the US and Europe track the political economy of dance and
analyze the political dimensions of choreography, of writing
history, and of embodied phenomena in general. Employing years of
intimate knowledge of dance and its cultural phenomenology,
scholars urge readers to re-think dominant cultural codes, their
usages, and the meaning they produce and theorize ways dance may
help to re-signify and to re-negotiate established cultural
practices and their inherent power relations. This handbook poses
ever-present questions about dance politics-which aspects or
effects of a dance can be considered political? What possibilities
and understandings of politics are disclosed through dance? How
does a particular dance articulate or undermine forces of
authority? How might dance relate to emancipation or bondage of the
body? Where and how can dance articulate social movements,
represent or challenge political institutions, or offer insight
into habits of labor and leisure? The handbook opens its critical
terms in two directions. First, it offers an elaborated
understanding of how dance achieves its politics. Second, it
illustrates how notions of the political are themselves expanded
when viewed from the perspective of dance, thus addressing both the
relationship between the politics in dance and the politics of
dance. Using the most sophisticated theoretical frameworks and
engaging with the problematics that come from philosophy, social
science, history, and the humanities, chapters explore the
affinities, affiliations, concepts, and critiques that are inherent
in the act of dance, and questions about matters political that
dance makes legible.
A balanced review of the changing nature of the corporate
university
Derivatives were responsible for one of the worst financial
meltdowns we have ever seen, one from which we have not yet fully
recovered. However, they are likewise capable of generating some of
the most incredible wealth we have ever seen. This book asks how we
might ensure the latter while avoiding the former. Looking past the
usual arguments for the regulation or abolition of derivative
finance, it asks a more probing question: what kinds of social
institutions and policies would we need to put in place to both
avail ourselves of the derivative's wealth production and make sure
that production benefits all of us? To answer that question, the
contributors to this book draw upon their deep backgrounds in
finance, social science, art, and the humanities to create a new
way of understanding derivative finance that does justice to its
social and cultural dimensions. They offer a two-pronged analysis.
First, they develop a social understanding of the derivative that
casts it in the light of anthropological concepts such as the gift,
ritual, play, dividuality, and performativity. Second, they develop
a derivative understanding of the social, using financial concepts
such as risk, hedging, optionality, and arbitrage to uncover new
dimensions of contemporary social reality. In doing so, they
construct a necessary, renewed vision of derivative finance as a
deeply embedded aspect not just of our economics but our culture.
In this significant Marxist critique of contemporary American
imperialism, the cultural theorist Randy Martin argues that a
finance-based logic of risk control has come to dominate Americans'
everyday lives as well as U.S. foreign and domestic policy. Risk
management-the ability to adjust for risk and to leverage it for
financial gain-is the key to personal finance as well as the
defining element of the massive global market in financial
derivatives. The United States wages its amorphous war on terror by
leveraging particular interventions (such as Iraq) to much larger
ends (winning the war on terror) and by deploying small numbers of
troops and targeted weaponry to achieve broad effects. Both in
global financial markets and on far-flung battlegrounds, the
multiplier effects are difficult to foresee or control.Drawing on
theorists including Michel Foucault, Giorgio Agamben, Michael
Hardt, Antonio Negri, and Achille Mbembe, Martin illuminates a
frightening financial logic that must be understood in order to be
countered. Martin maintains that finance divides the world between
those able to avail themselves of wealth opportunities through risk
taking (investors) and those who cannot do so, who are considered
"at risk." He contends that modern-day American imperialism differs
from previous models of imperialism, in which the occupiers engaged
with the occupied to "civilize" them, siphon off wealth, or both.
American imperialism, by contrast, is an empire of indifference: a
massive flight from engagement. The United States urges an embrace
of risk and self-management on the occupied and then ignores or
dispossesses those who cannot make the grade.
While trillions of dollars came and went in the stock market boom
of the 1990s, the image of "every man and woman a CEO" may turn out
to be the era's lasting legacy. Business news, once reserved to
specialized papers or sections of the larger news of the day, came
to the forefront in cable television and in cultural images of how
ordinary people, through the internet and other avenues could not
only master their financial life, but move money and equity around
with the ease of a financial titan. Financialization of Daily Life
looks at how this transformation occurred, and how it is just now
becoming a significant, and troubling, aspect of our political and
cultural life. Randy Martin takes us through all of the aspects of
our "financialization." He examines how the shift in economic life
arose not only from changes in culture, but also from new policy
priorities that emphasize controlling inflation over promoting
growth. He offers a close reading of self-help literature that
teaches parents how to rear financially literate children and to
instruct adults in the fundamentals of fiscal management. He
examines just what a society that treats financial investment as a
national past time really looks like, and how that society is
transforming the world. In a country rocked by scandals in
accounting and banking, the identification ordinary citizens make
with, and the risk with which they engage in, the stock market
calls into question the very basis of our economic system. Randy
Martin spells out in clear terms the implications our financial
doings--and undoing--have for the way we organize our lives, and,
especially, our money. Author note: Randy Martin is Professor of
Art and Public Policy and Associate Dean of Faculty and
Interdisciplinary Programs at New York University. He is the author
and editor of seven books, including, most recently, On Your Marx:
Rethinking Socialism and the Left.
Coming at a time when scarce attention is being paid to new sources
for a political impulse in the West, Performance as Political Act
seeks to re-embody the political subject, arguing that when the
mind has been dominated by mass communications as in Western
capitalism, the body emerges as a site of opposition. Martin's
study goes against the conventional wisdom of the three areas it
seeks to synthesize: politics, the performing arts, and the body.
Whereas most left political studies presuppose consciousness as
necessary for political activity, the author contends that
consciousness is inadequate without political feeling and senses
which are the province of the body. The performing arts, generally
viewed from the audience's perspective, are here seen from the
standpoint of the performers because the power of social relations,
Martin asserts, lies ultimately in performance. Finally, the body,
viewed in the relevant literature as either a natural, individual
essence or as subjugated to mind is established here as a social,
historical agent of political activity. Two distinct, yet related,
studies form the basis for Martin's contention that an alternative
politics must be based on the body engaged in performance: first,
an inside view of the making of a modern dance displays the sources
of power for a social body; and second, a comparison of political
theatre in the Soviet twenties and American sixties identifies the
way in which the body's potential for politics changes. A sustained
theoretical discussion that critiques semiotic and phenomenological
approaches to the body and outlines a body politics links the two
studies. Performing artists concerned with the political aspects of
theirwork; sociologists engaged in the study of problems of culture
and everyday life; and literary theorists involved with the
application of the tools of literary criticism to political
problems will find that the perspectives expressed in this
groundbreaking examination of the contemporary theory and history
of the body form a compelling argument for the extent to which the
body can become a source of political activity.
In recent decades, dance has become a vehicle for querying
assumptions about what it means to be embodied, in turn
illuminating intersections among the political, the social, the
aesthetical, and the phenomenological. The Oxford Handbook of Dance
and Politics edited by internationally lauded scholars Rebekah
Kowal, Gerald Siegmund, and the late Randy Martin presents a
compendium of newly-commissioned chapters that address the
interdisciplinary and global scope of dance theory - its political
philosophy, social movements, and approaches to bodily difference
such as disability, postcolonial, and critical race and queer
studies. In six sections 30 of the most prestigious dance scholars
in the US and Europe track the political economy of dance and
analyze the political dimensions of choreography, of writing
history, and of embodied phenomena in general. Employing years of
intimate knowledge of dance and its cultural phenomenology,
scholars urge readers to re-think dominant cultural codes, their
usages, and the meaning they produce and theorize ways dance may
help to re-signify and to re-negotiate established cultural
practices and their inherent power relations. This handbook poses
ever-present questions about dance politics-which aspects or
effects of a dance can be considered political? What possibilities
and understandings of politics are disclosed through dance? How
does a particular dance articulate or undermine forces of
authority? How might dance relate to emancipation or bondage of the
body? Where and how can dance articulate social movements,
represent or challenge political institutions, or offer insight
into habits of labor and leisure? The handbook opens its critical
terms in two directions. First, it offers an elaborated
understanding of how dance achieves its politics. Second, it
illustrates how notions of the political are themselves expanded
when viewed from the perspective of dance, thus addressing both the
relationship between the politics in dance and the politics of
dance. Using the most sophisticated theoretical frameworks and
engaging with the problematics that come from philosophy, social
science, history, and the humanities, chapters explore the
affinities, affiliations, concepts, and critiques that are inherent
in the act of dance, and questions about matters political that
dance makes legible.
Catastrophes ranging from the travesties of financial markets and
the explosion of the Deepwater Horizon oil well to the tsunami that
struck northern Japan and the levees breaking in New Orleans are
examples of the limits of knowledge. Author Randy Martin insists
that the expertise erected to prevent these natural and social
disasters failed in each case. In Knowledge LTD, Martin explores
how both the limits of knowledge and the social constructions of
culture reflect the way we organize social life in the face of
disasters and their aftermath. He examines this crisis of knowledge
as well as the social movements that rose up in its wake. Martin
not only treats derivatives as financial contracts for pricing
risk, but also shows how the derivative works in economic terms,
where the very unity of the economy is undone. Knowledge LTD
ultimately points to a more comprehensive reordering of the once
separate spheres of economy, polity, and culture. Martin provides a
new way of understanding the social significance of the
all-pervasive derivative logic.
A groundbreaking choreographer, lighting designer, composer, and
costumer, Alwin Nikolais (1910-1993) is recognized as one of the
twentieth century's most innovative artists. Incorporating novel
technological and performance tactics, he invented a total language
of non-literal dance theater that attracted audiences worldwide for
over forty years. The Returns of Alwin Nikolais is the first book
devoted to a critical analysis of Nikolais's work, and it provides
a broad and important overview of his artistic and philosophical
trajectory. The volume brings together essays by scholars of dance
history, theater studies, music, and art history, and includes
primary materials such as reviews, diary excerpts, and photographs.
It is a valuable resource for teachers and students of art and
culture.
Contributors: PHILIP AUSLANDER, HERBERT BLAU, JANA FEINMAN, MARK
FRANKO, BOB GILMORE, CLAUDIA GITELMAN, YVONNE HARDT, REBEKAH KOWAL,
RANDY MARTIN, NAIMA PREVOTS, AND MARCIA SIEGEL.
"Tenured Bosses and Disposable Teachers: Writing Instruction in the
Managed University "exposes the poor working conditions of
contingent composition faculty and explores practical alternatives
to the unfair labor practices that are all too common on campuses
today.
Editors Marc Bousquet, Tony Scott, and Leo Parascondola bring
together diverse perspectives from pragmatism to historical
materialism to provide a perceptive and engaging examination of the
nature, extent, and economics of the managed labor problem in
composition instruction--a field in which as much as ninety-three
percent of all classes are taught by graduate students, adjuncts,
and other "disposable" teachers. These instructors enjoy few
benefits, meager wages, little or no participation in departmental
governance, and none of the rewards and protections that encourage
innovation and research. And it is from this disenfranchised
position that literacy workers are expected to provide some of the
core instruction in nearly everyone's higher education experience.
Twenty-six contributors explore a range of real-world solutions to
managerial domination of the composition workplace, from
traditional academic unionism to ensemble movement activism and the
pragmatic rhetoric, accommodations, and resistances practiced by
teachers in their daily lives.
Contributors are Leann Bertoncini, Marc Bousquet, Christopher
Carter, Christopher Ferry, David Downing, Amanda Godley, Robin
Truth Goodman, Bill Hendricks, Walter Jacobsohn, Ruth Kiefson, Paul
Lauter, Donald Lazere, Eric Marshall, Randy Martin, Richard Ohmann,
Leo Parascondola, Steve Parks, Gary Rhoades, Eileen Schell, Tony
Scott, William Thelin, JenniferSeibel Trainor, Donna Strickland,
William Vaughn, Ray Watkins, and Katherine Wills.
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Sportcult (Paperback)
Randy Martin; Contributions by Toby Miller
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R645
Discovery Miles 6 450
|
Ships in 12 - 17 working days
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Describes how people perform their sexual identities as athletes
and spectators.
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