In Unfixed Jennifer Bajorek traces the relationship between photography and decolonial political imagination in Francophone west Africa in the years immediately leading up to and following independence from French colonial rule in 1960. Focusing on images created by photographers based in Senegal and Benin, Bajorek draws on formal analyses of images and ethnographic fieldwork with photographers to show how photography not only reflected but also actively contributed to social and political change. The proliferation of photographic imagery—through studio portraiture, bureaucratic ID cards, political reportage and photojournalism, magazines, and more—provided the means for west Africans to express their experiences, shape public and political discourse, and reimagine their world. In delineating how west Africans' embrace of photography was associated with and helped spur the democratization of political participation and the development of labor and liberation movements, Bajorek tells a new history of photography in west Africa—one that theorizes photography's capacity for doing decolonial work.
Counterfeit Capital is a comparative and interdisciplinary study exploring the unexpected yet essential relationship between irony and capital in the texts of Baudelaire and Marx. It argues for the renewed relevance of their work to contemporary thinking about the place of aesthetic and cultural experience in social and political life and articulates their poetic and philosophical innovations with their political statements in new and powerful ways. Through readings of Baudelaire's poetry and prose and Marx's Capital, this book illuminates their ongoing contribution to our understanding of themes and topics at the forefront of contemporary theoretical debate, including the effects of new technologies on the means of human action and transformation and the prospects for community and memory under capitalism. This book also revisits Walter Benjamin's interpretations of the philosopher and the poet. Rereading Baudelaire and Marx together with the unplumbed lessons of Benjamin's interpretations, it contributes to a growing body of interdisciplinary scholarship on the political dimensions and effects of language and to the current rethinking, in Marxist and post-Marxist theory, of conceptions of political time and agency.
Television in Canada has been undervalued as a cultural form. Despite being publicly funded, Canadian television programs are also notoriously difficult to access once they go off the air, which has compounded the problem. In What Television Remembers Jennifer VanderBurgh intervenes in the story of the medium in Canada by exploring the long relationship between TV and the city of Toronto. From the first demonstration of television at the Canadian National Exhibition in 1939 and the mass viewing of Queen Elizabeth II’s coronation broadcast in 1953 to the late-century installation of TV screens in public spaces around the city, television has shaped Toronto’s collective imagination and affirmed viewers in their multiple identities as local residents, national citizens, and transnational consumers. In a close reading of Toronto-based CBC dramas from the 1960s to 2010, VanderBurgh explains how the city has functioned as a strategic location in CBC programming, reflecting dramatically changing ideas about Canadian identity, community, and citizenship. At a time when many are suggesting that the era of television is over, What Television Remembers sounds the alarm that we are in danger of forgetting TV in Canada without appreciating the complexities of its contributions and legacy.
This book brings together, in a novel and exciting combination, three authors who have written movingly about mourning: two medieval Italian poets, Dante Alighieri and Francesco Petrarca, and one early twentieth-century French novelist, Marcel Proust. Each of these authors, through their respective narratives of bereavement, grapples with the challenge of how to write adequately about the deeply personal and painful experience of grief. In Jennifer Rushworth's analysis, discourses of mourning emerge as caught between the twin, conflicting demands of a comforting, readable, shared generality and a silent, solitary respect for the uniqueness of any and every experience of loss. Rushworth explores a variety of major questions in the book, including: what type of language is appropriate to mourning? What effect does mourning have on language? Why and how has the Orpheus myth been so influential on discourses of mourning across different time periods and languages? Might the form of mourning described in a text and the form of closure achieved by that same text be mutually formative and sustaining? In this way, discussion of the literary representation of mourning extends to embrace topics such as the medieval sin of acedia, the proper name, memory, literary epiphanies, the image of the book, and the concept of writing as promise. In addition to the three primary authors, Rushworth draws extensively on the writings of Sigmund Freud, Julia Kristeva, Jacques Derrida, and Roland Barthes. These rich and diverse psychoanalytical and French theoretical traditions provide terminological nuance and frameworks for comparison, particularly in relation to the complex term melancholia.
Examining little-known policing archives in France, Senegal, and Cambodia, Jennifer Boittin unearths the stories of hundreds of women labeled "undesirable" by the French imperial police in the early twentieth century. These undesirables were often women traveling alone, women who were poor or ill, women of color proclaiming their "Frenchness" to move throughout the empire, or women whose intimate lives were deemed unruly. Undesirability often brought alongside it immobility or imposed migration; French officials routinely either denied passage throughout the empire or attempted to relocate women as they saw fit. To refute the label, women wrote impassioned letters to police and ministers throughout France, French West Africa, and French Indochina. Some emphasized their "undesirable" qualities to suggest that they needed the care and protection of the state to support their movements. Others used the empire's own laws around Frenchness and mobility to challenge state interference, illustrating their independence. Tacking between advocacy and supplication, these women summoned intimate details to move beyond, contest, or confound surveillance efforts and the intrusions of imperial policing, bringing to life a practice that Boittin terms "passionate mobility." In considering how ordinary European, Southeast Asian, and West African women pursued autonomy, security, companionship, or simply a better existence in the face of police surveillance and control, Undesirable illuminates pressing contemporary issues of migration and violence"--
This collection of 15 essays by celebrated authors in Shakespeare studies and in continental philosophy develops different aspects of the interface between continental thinking and Shakespeare's plays.
Renowned experts in the neuro-oncological field bring their expertise together for Neuro-Oncology Compendium for the Boards and Clinical Practice. This volume reviews the core topics of neuro-oncology including adult and pediatric neuro-oncology, management, central nervous system tumor complications, genetic considerations, and more. With a focus on updated treatments and terminology, this volume is designed to comprehensively review all major facets of neuro-oncology so that physicians-in-training may prepare for the board review and practicing specialists can stay up to date in their treatment of patients. This essential text includes hundreds of figures and tables, succinct review flashcards, end-of-chapter questions and answers, as well as end-of-volume exams so readers can review and test their own comprehension. Each chapter has been reviewed by the editors to ensure cohesive board-level verbiage, emphasizing practical clinical knowledge. Neuro-Oncology Compendium for the Boards and Clinical Practice is up-to-date and comprehensive, eliminating the need for multiple sources of study. Key features of this volume include: -End of chapter flashcards to summarize key content -End of chapter Questions and Answers for review -Practice exams to simulate board questions -Updated terminology and practices -Complimentary images and tables to support learning
Comprehensive index to current and retrospective biographical dictionaries and who's whos. Includes biographies on over 3 million people from the beginning of time through the present. It indexes current, readily available reference sources, as well as the most important retrospective and general works that cover both contemporary and historical figures.
Counterfeit Capital is a comparative and interdisciplinary study exploring the unexpected yet essential relationship between irony and capital in the texts of Baudelaire and Marx. It argues for the renewed relevance of their work to contemporary thinking about the place of aesthetic and cultural experience in social and political life and articulates their poetic and philosophical innovations with their political statements in new and powerful ways. Through readings of Baudelaire's poetry and prose and Marx's Capital, this book illuminates their ongoing contribution to our understanding of themes and topics at the forefront of contemporary theoretical debate, including the effects of new technologies on the means of human action and transformation and the prospects for community and memory under capitalism. This book also revisits Walter Benjamin's interpretations of the philosopher and the poet. Rereading Baudelaire and Marx together with the unplumbed lessons of Benjamin's interpretations, it contributes to a growing body of interdisciplinary scholarship on the political dimensions and effects of language and to the current rethinking, in Marxist and post-Marxist theory, of conceptions of political time and agency.
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