This volume is an interdisciplinary attempt to insert a broader, historically informed perspective into current political and academic debates on the issue of evidence and the reliability of scientific knowledge. The tensions between competing paradigms, different bodies of knowledge and the relative hierarchies between them are a crucial element of the historical and contemporary dynamics of scientific knowledge production. The negotiation of evidence is at the heart of this process. Starting from the premise that evidence constitutes a central, but also essentially contested concept in contemporary knowledge-based societies, this volume focuses on how evidence is generated and applied in practice-in other words, on "evidence in action." The contributions analyze and compare different evidence practices within the field of science and technology, how they interlink with different forms of power, their interaction with and impact on the legal and political domain, and their relationship to other, more heterodox forms of evidence that challenge traditional notions of evidence. In doing so, this volume provides much-needed context and historical background to contemporary debates on the so-called "post-truth" society. Evidence in Action is the perfect resource for all those interested in the relationship between science, technology, and the role of knowledge in society.

In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes and Muriel Rukeyser, and uncovering the contributions of lesser-known writers such as Jacques Roumain, Genevieve Taggard, and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes-such as lyric and documentary-and genres, including songs, ballads, and nursery rhymes in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.

In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes and Muriel Rukeyser, and uncovering the contributions of lesser-known writers such as Jacques Roumain, Genevieve Taggard, and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes-such as lyric and documentary-and genres, including songs, ballads, and nursery rhymes in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.