The Licit Life of Capitalism is both an account of a specific capitalist project—U.S. oil companies working off the shores of Equatorial Guinea—and a sweeping theorization of more general forms and processes that facilitate diverse capitalist projects around the world. Hannah Appel draws on extensive fieldwork with managers and rig workers, lawyers and bureaucrats, the expat wives of American oil executives and the Equatoguinean women who work in their homes, to turn conventional critiques of capitalism on their head, arguing that market practices do not merely exacerbate inequality; they are made by it. People and places differentially valued by gender, race, and colonial histories are the terrain on which the rules of capitalist economy are built. Appel shows how the corporate form and the contract, offshore rigs and economic theory are the assemblages of liberalism and race, expertise and gender, technology and domesticity that enable the licit life of capitalism—practices that are legally sanctioned, widely replicated, and ordinary, at the same time as they are messy, contested, and, arguably, indefensible.
The Licit Life of Capitalism is both an account of a specific capitalist project—U.S. oil companies working off the shores of Equatorial Guinea—and a sweeping theorization of more general forms and processes that facilitate diverse capitalist projects around the world. Hannah Appel draws on extensive fieldwork with managers and rig workers, lawyers and bureaucrats, the expat wives of American oil executives and the Equatoguinean women who work in their homes, to turn conventional critiques of capitalism on their head, arguing that market practices do not merely exacerbate inequality; they are made by it. People and places differentially valued by gender, race, and colonial histories are the terrain on which the rules of capitalist economy are built. Appel shows how the corporate form and the contract, offshore rigs and economic theory are the assemblages of liberalism and race, expertise and gender, technology and domesticity that enable the licit life of capitalism—practices that are legally sanctioned, widely replicated, and ordinary, at the same time as they are messy, contested, and, arguably, indefensible.
A Speaker's Guidebook" is the best resource in the classroom, on the job, and in the community. Praised for connecting with students who use and keep it year after year, this tabbed, comb-bound text covers all the topics typically taught in the introductory course and is the easiest-to-use public speaking text available. In every edition, hundreds of instructors have helped us focus on the fundamental challenges of the public speaking classroom. Improving on this tradition, the fifth edition does even more to address these challenges with stronger coverage of overcoming speech anxiety, organizing and outlining, and more. And as the realties of public speaking change, so does "A Speaker's Guidebook"; the new edition also focuses on presentational speaking in a digital world -- from finding credible sources online to delivering presentations in a variety of mediated formats. -- From product description.
At the beach, bodies converge with the elements and strange treasures come to light. Departing from the conventional association of modernism with the city, this book makes a case for the coastal zone as a surprisingly generative setting for twentieth-century literature and art. An unruly and elusive confluence of human and more-than-human forces, the seashore is also a space of performance—a stage for loosely scripted, improvisatory forms of embodiment and togetherness. The beach, Hannah Freed-Thall argues, was to the modernist imagination what mountains were to Romanticism: a space not merely of anthropogenic conquest but of vital elemental and creaturely connection. With an eye to the peripheries of capitalist leisure, Freed-Thall recasts familiar seaside practices—including tide-pooling, beachcombing, gambling, and sunbathing—as radical experiments in perception and sociability. Close readings of works by Marcel Proust, Virginia Woolf, Claude McKay, Samuel Beckett, Rachel Carson, and Gordon Matta-Clark, among others, explore the modernist beach as a queer refuge, a precarious commons, a scene of collective exhaustion and endurance, and a visionary threshold at the end of the world. Interweaving environmental humanities, queer and feminist theory, and cultural history, Modernism at the Beach offers new ways of understanding twentieth-century literature and its relation to ecological thought.
Through a detailed account of the West German census controversies of the 1980s, this book offers a robust and geographical sense of what effective 'resistance' and 'empowerment' might mean in an age when the intensification of 'surveillance society' appears to render us ever more passive and incapable of controlling our own registration.
The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
How did women begin wearing pants? Prior to the 1920s it was a rarity to see women in pants in the Western world, but as the silk pajama trouser suit moved from the boudoir to the beach in the early 1920s it cemented the image of the trousered woman. Worn by Jean Harlow and Marlene Dietrich, painted by Raoul Dufy and immortalized in F. Scott Fitzgerald's Tender is the Night, between the two world wars pajamas came to symbolize much more than sleepwear. This book explores how the pajama phenomenon was not only critical to the careers of designers such as Chanel, Patou, Poiret, and Schiaparelli, but how the versatile garment was also bound to the independence of women and influenced culture more broadly. Through meticulous research and never-before-seen images, the authors position pajama fashion in the context of the Golden Age of Travel, the rise of Hollywood, and the changing political climate of the early 20th century, to reveal how the rising trend in sleepwear influenced The American Look, modern sportswear, and the image of the trousered woman.
Historicizing both emotions and politics, this open access book argues that the historical work of emotion is most clearly understood in terms of the dynamics of institutionalization. This is shown in twelve case studies that focus on decisive moments in European and US history from 1800 until today. Each case study clarifies how emotions were central to people’s political engagement and its effects. The sources range from parliamentary buildings and social movements, to images and speeches of presidents, from fascist cemeteries to the International Criminal Court. Both the timeframe and the geographical focus have been chosen to highlight the increasingly participatory character of nineteenth- and twentieth-century politics, which is inconceivable without the work of emotions.
Is today's youth over sensitive, mollycoddled and intellectually pathetic? Does the scourge of political correctness threaten the very fabric of our nations? Yes, and yes! comes the cry of the incensed politician, columnist, comedian, disgruntled father, and baby boomer. Dubbed the 'snowflake generation', these hypersensitive cowards are up in arms about silly things like bathrooms smeared with faeces in the shape of Swastikas, climate change, and statues of colonisers being kept in their natural habitats of universities and town squares. They make obstinate requests like wondering if a vegan option might be available, or if you could (please) use their correct pronouns. In response to this outrage, writer and Washington Post pop culture host Hannah Jewell has decided to write a book to explain why being a snowflake might not be a bad thing. It might even make the world a better place. Subversive, provocative and very funny, Hannah explains how, shockingly, despising the generation that comes after your own isn't actually a new thing, and why it's good for students (and indeed the rest of us) to kick off. She shows how you can instill resilience in children without having to live through a war or be made to eat octopus; and provides a handy guide to how you - yes, you! - can also become a snowflake and help to make the world a kinder, more empathetic place.
Lottie Daniels is dancing up the altar in Canada when she realises her whirlwind wedding is a big mistake. Chad isn't the right person for her at all! And, in that moment, Lottie goes from dancing bride to runaway bride. Much to her brother's relief, Lottie decides to return to Bramblewood in the UK. But life has more surprises in store for her. After rescuing both a donkey and a little old lady called Doris - all with the help of a handsome stranger! - Lottie suddenly becomes a big part of Doris's life. From broken dreams to second chances, Lottie finally has a chance to rebuild her life. When her friends suggest she takes part in a dance audition she refuses point blank but it soon becomes clear that destiny has other plans. You are guaranteed to fall head over heels with this sweet and charming romance.
The Bristol doctor James Cowles Prichard (1786-1848) has enjoyed a glowing reputation. Late Victorians regarded him as the founder of British anthropology and, in the twentieth century, he has been considered as a precursor of Darwin. Nowadays his name is cited mainly in context of inquiries into the rise of racial theories. Prichard's own theoretical goal was simple: the son of Quaker parents, he attempted to establish that the Bible provided a correct account of the earliest history of humankind; above all it was his aim to prove once and for all the doctrine of monogenesis: the unitary origins of mankind. He single-handedly charted the waters of the pre-Victorian human sciences. Philology, anthropology, mythology, Biblical criticism, the philosophy of the human mind, comparative anatomy, physiology, and practical medicine - Prichard mastered subjects so diverse that his learning may be called truly universal. His views have often been misrepresented, however, and his opposition to racial thinking in particular has been underestimated. This book, the first study dedicated exclusively to Prichard, explores his notions of man's place in nature and puts them in the context of contemporary European learning.
The amicus curiae – or friend of the court – is the main mechanism for actors other than the parties, including civil society actors and states, to participate directly in proceedings in international criminal tribunals. Yet reliance on this mechanism raises a number of significant questions concerning: the functions performed by amici, which actors seek to intervene and why, and the influence of amicus interventions on judicial outcomes. Ultimately, the amicus curiae may have a significant impact on the fairness, representativeness and legitimacy of the tribunals' proceedings and decisions. This book provides a comprehensive examination of the amicus curiae practice of the International Criminal Court and other major international criminal tribunals and offers suggestions for the role of the amicus curiae. In doing so, the authors develop a framework to augment the potential contributions of amicus participation in respect of the legitimacy of international criminal tribunals and their decisions, while minimising interference with the core judicial competence of the tribunal and the right of the accused to a fair and expeditious trial.
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