A hard-hitting, stunning novel about secrets and silence—and how sooner or later the truth must be spoken There was so much anger brewing in the child that sometimes Alicia feared for all of them. And now she had gone and done this terrible thing. This terrible, terrible thing. Tara has lost her voice. She knows there was pain and fear but she cannot remember anything else. Now she can only answer the questions with silence. Minnie has buried her voice for years, losing herself in silence and isolation, keeping her secrets safe and her broken heart concealed. Liam finds refuge in silence; it is a place to go to when he cannot get the words out. Kate cannot speak for herself just yet. People are only separated from each other by moments, fate, and coincidence. One teenage mistake, one shocking choice, and one terrible night will lead to courage found, voices raised, and the truth finally spoken.
If you love Jodi Picoult, look no further than Nicole Trope, who may just be your cup of tea.' The Hoopla All Malia needed was a single litre of milk and now she's surrounded by police and Zach has disappeared. Detective Ali Greenberg knows that this is not the best case for her, not with her history - but she of all people knows what Malia is going through and what is at stake. Edna is worried about the new residents at the boarding house. She knows Mary would turn in her grave if she knew the kinds of people her son was letting in. And then there is someone else. Someone whose heart is broken. Someone who feels she has been unfairly punished for her mistakes. Someone who wants what she can't have. What follows is a heart-stopping game of cat-and-mouse and a race against the clock. As the hours pass and the day heats up, all hope begins to fade. 'If you're looking for the Australian equivalent of Jodi Picoult, look no further than Nicole Trope, who is making a name for herself as a writer of provocative family dramas with hard-hitting issues at their core.' Hannah Richell, author of Secrets of the Tides
Birdy thought she would have to wait until she was free again to see Rose, but now Rose has been convicted of a shocking crime and she and Birdy will be together. Birdy has been saving all her anger for Rose. It is Rose who should have protected her and kept her safe. Birdy was little but Rose was big and she knows Rose could have saved her. This is a story about monsters who hide in plain sight and about the secrets we keep from ourselves. It is about children who are betrayed and adults who fail them. This is the story of Birdy who was hurt and Rose who must be made to pay. A provocative and compassionate read from the queen of white-knuckle suspense and searing family drama. You won't be able to put it down.
A story of immense power and compassion—one that will move all who read it with its harrowing glimpse into the real world behind the headlines Tina is a young woman hiding from her grief on the streets of the Cross. On a cold night in the middle of winter she breaks all her own rules when she agrees to go home with a customer. What she finds in his house will change her life forever. Across the country, Sarah and Doug are trapped in limbo, struggling to accept the loss that now governs their lives. Pete is the local policeman who feels like he is watching the slow death of his own family. Every day brings a fresh hell for each of them. Told from the alternating points of view of Tina, Sarah, Doug, and Pete, The Boy Under the Table is gritty, shocking, moving, and, ultimately, filled with hope.
Nicole R. Fleetwood explores how blackness is seen as a troubling presence in the field of vision and the black body is persistently seen as a problem. She examines a wide range of materials from visual and media art, documentary photography theatre, performance and more.
• Penny Dreadfuls and the Gothic uncovers neglected Gothic texts of the nineteenth century which are crucial in understanding working-class popular culture. • The approach of this study of penny dreadfuls is vast and eclectic, ranging from data-driven publication data to close textual analysis of these texts to adaptations of penny fiction. • This title covers a broad range of penny texts, some of which have never before been written on.
More Black women are needed in the academy. More Black women may want to join the academy, but the academy has not always been accepting of us. Black women who are currently in academia or in doctoral programs face a wide array of social challenges, from racial discrimination to sexism to anti-Black women experiences. Many Black women have hesitated on applying to or starting their doctoral programs to avoid such social challenges. A Black Woman’s Guide to Earning a Ph.D. provides Black women with tips and resources on how to navigate and survive as a doctoral student at a predominantly white university or program. This book focuses primarily on the first two years of graduate school as years 1 and 2 are typically the most challenging. In this book, Black women will read personal stories related to mental health, the impostor syndrome, racial discrimination experiences, and much more. Lastly, this book was written to encourage more Black women to write about their experiences in their doctoral program for others who will come after them. We are all we’ve got.
Crime in TV, the News, and Film provides a fresh look at the interplay between criminal events and the media outlets that cover them. The authors’ diverse backgrounds— a criminologist researcher, a documentarian and media professor, a police officer, and a criminologist who is a former TV reporter— allow for frank discussion. Combining field experience with criminological research, the book gives insight to the everyday media operations that can produce most people’s views on crime and profoundly influence public opinion— public opinion that often frames public policy. Viewers of crime dramas and consumers of news will gain a new understanding of the way their programs are produced. Readers will become more aware of the issues and biases that sometimes cloud perceptions of crime and criminals. Finally, both experts and scholars interested in the subject will improve their discernment of media stories and media depictions, shining a light on crime in a hazy field. This book can be used in the classroom for an array of courses in the fields of media and communications, criminology, sociology, and more.
Traces a tradition of ironic and irreverent environmentalism, asking us to rethink the movement’s reputation for gloom and doom Activists today strive to educate the public about climate change, but sociologists have found that the more we know about alarming issues, the less likely we are to act. Meanwhile, environmentalists have acquired a reputation as gloom-and-doom killjoys. Bad Environmentalism identifies contemporary texts that respond to these absurdities and ironies through absurdity and irony—as well as camp, frivolity, irreverence, perversity, and playfulness. Nicole Seymour develops the concept of “bad environmentalism”: cultural thought that employs dissident affects and sensibilities to reflect critically on our current moment and on mainstream environmental activism. From the television show Wildboyz to the short film series Green Porno, Seymour shows that this tradition of thought is widespread—spanning animation, documentary, fiction film, performance art, poetry, prose fiction, social media, and stand-up comedy since at least 1975. Seymour argues that these texts reject self-righteousness and sentimentality, undercutting public negativity toward activism and questioning basic environmentalist assumptions: that love and reverence are required for ethical relationships with the nonhuman and that knowledge is key to addressing problems like climate change. Funny and original, Bad Environmentalism champions the practice of alternative green politics. From drag performance to Indigenous comedy, Seymour expands our understanding of how environmental art and activism can be pleasurable, even in a time of undeniable crisis.
We live in a world of talk. Yet Race Sounds argues that we need to listen more—not just hear things, but actively listen—particularly in relation to how we engage race, gender, and class differences. Forging new ideas about the relationship between race and sound, Furlonge explores how black artists—including well-known figures such as writers Ralph Ellison and Zora Neale Hurston, and singers Bettye LaVette and Aretha Franklin, among others—imagine listening. Drawing from a multimedia archive, Furlonge examines how many of the texts call on readers to “listen in print.” In the process, she gives us a new way to read and interpret these canonical, aurally inflected texts, and demonstrates how listening allows us to engage with the sonic lives of difference as readers, thinkers, and citizens. Intervening in discourses of African American and black feminist literatures, where sound and voice dominate, Furlonge shifts our attention to listening as an aural strategy of cultural, social, and civic engagement that not only enlivens how we read, write, and critique texts, but also informs how we might be more effective audiences for each other and against injustice in our midst. The result is a fascinating examination that brings new insights to African American literature and art, American literature, democratic philosophy, and sound studies.
The juxtaposition of biopolitical critique and animal studies--two subjects seldom theorized together--signals the double-edged intervention of Animal Capital. Nicole Shukin pursues a resolutely materialist engagement with the "question of the animal," challenging the philosophical idealism that has dogged the question by tracing how the politics of capital and of animal life impinge on one another in market cultures of the twentieth and early twenty-first centuries.
Surveillance has become a part of everyday life: we are surrounded by surveillance technologies in news media, when we go down the street, in the movies, and even carry them in our own pockets in the form of smartphones. How are we constructing imaginaries of our realities and of ourselves as living in structures of control? What affects, emotions and feelings do we develop in societies of control, and how do we narrate them? Media, Surveillance and Affect represents a big step in revealing the depth of the entanglement of surveillance technology not only with our everyday lives, but with our imaginaries and affective experiences. Combining insights from affect studies with narratological and visual cultural studies approaches, the case studies in this book focus on how surveillance cameras and surveillance camera images have been used to narrate affective stories of Great Britain. Cases discussed include the memory work surrounding the murder of James Bulger in 1993 and of Lee Rigby in 2011, but also novels and artworks. With a multidisciplinary approach Media, Surveillance and Affect will appeal to students, scholars and specialists interested in fields such as media and cultural studies, literary studies, cultural sociology and surveillance studies.
This book explores how British culture is negotiating heroes and heroisms in the twenty-first century. It posits a nexus between the heroic and the state of the nation and explores this idea through British television drama. Drawing on case studies including programmes such as The Last Kingdom, Spooks, Luther and Merlin, the book explores the aesthetic strategies of heroisation in television drama and contextualises the programmes within British public discourses at the time of their production, original broadcasting and first reception. British television drama is a cultural forum in which contemporary Britain’s problems, wishes and cultural values are revealed and debated. By revealing the tensions in contemporary notions of heroes and heroisms, television drama employs the heroic as a lens through which to scrutinise contemporary British society and its responses to crisis and change. Looking back on the development of heroic representations in British television drama over the last twenty years, this book’s analyses show how heroisation in television drama reacts to, and reveals shifts in, British structures of feeling in a time marked by insecurity. The book is ideal for readers interested in British cultural studies, studies of the heroic and popular culture. Introduction of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution (CC-BY-)] 4.0 license.
“[S]heds light not only on the obstacles to making motherhood safer, but to improving the health of poor populations in general.”—Social Anthropology Since 1987, when the global community first recognized the high frequency of women in developing countries dying from pregnancy-related causes, little progress has been made to combat this problem. This study follows the global policies that have been implemented in Sololá, Guatemala in order to decrease high rates of maternal mortality among indigenous Mayan women. The author examines the diverse meanings and understandings of motherhood, pregnancy, birth and birth-related death among the biomedical personnel, village women, their families, and midwives. These incongruous perspectives, in conjunction with the implementation of such policies, threaten to disenfranchise clients from their own cultural understandings of self. The author investigates how these policies need to meld with the everyday lives of these women, and how the failure to do so will lead to a failure to decrease maternal deaths globally. From the Introduction: An unspoken effect of reducing maternal mortality to a medical problem is that life and death become the only outcomes by which pregnancy and birth are understood. The specter of death looms large and limits our full exploration of either our attempts to curb maternal mortality, or the phenomenon itself. Certainly women’s survival during childbirth is the ultimate measure of success of our efforts. Yet using pregnancy outcomes and biomedical attendance at birth as the primary feedback on global efforts to make pregnancy safer is misguided.
The Spanish conquest has long been a source of polemic, ever since the early sixteenth century when Spanish jurists began theorizing the legal merits behind native dispossession in the Americas. But in The Business of Conquest: Empire, Love, and Law in the Atlantic World, Nicole D. Legnani demonstrates how the financing and partnerships behind early expeditions betray their own praxis of imperial power as a business, even as the laws of the Indies were being written. She interrogates how and why apologists of Spanish Christian empire, such as José de Acosta, found themselves justifying the Spanish conquest as little more than a joint venture between crown and church that relied on violent actors in pursuit of material profits but that nonetheless served to propagate Christianity in overseas territories. Focusing on cultural and economic factors at play, and examining not only the chroniclers of the era but also laws, contracts, theological treatises, histories, and chivalric fiction, Legnani traces the relationship between capital investment, monarchical power, and imperial scalability in the Conquest. In particular, she shows how the Christian virtue of caritas (love and charity of neighbor, and thus God) became confused with cupiditas (greed and lust), because love came to be understood as a form of wealth in the partnership between the crown and the church. In this partnership, the work of the conquistador became, ultimately, that of a traveling business agent for the Spanish empire whose excess from one venture capitalized the next. This business was thus the business of conquest and featured entrepreneurial violence as its norm—not exception. The Business of Conquest offers an original examination of this period, including the perspectives of both the creators of the colonial world (monarchs, venture capitalists, conquerors, and officials), of religious figures (such as Las Casas), and finally of indigenous points of view to show how a venture capital model can be used to analyze the partnership between crown and church. It will appeal to students and scholars of the early modern period, Latin American colonial studies, capitalism, history, and indigenous studies.
Men and women struggling for control of marriage and sexuality; narratives that focus on trickery, theft, and adultery; descriptions of sexual activities and body parts, the mention of which is prohibited in polite society: such are the elements that constitute what Nicole Nolan Sidhu calls a medieval discourse of obscene comedy, in which a particular way of thinking about men, women, and household organization crosses genres, forms, and languages. Inviting its audiences to laugh at violations of what is good, decent, and seemly, obscene comedy manifests a semiotic instability that at once supports established hierarchies and delights in overturning them. In Indecent Exposure, Sidhu explores the varied functions of obscene comedy in the literary and visual culture of fourteenth- and fifteenth-century England. In chapters that examine Chaucer's Reeve's Tale and Legend of Good Women; Langland's Piers Plowman; Lydgate's Mumming at Hertford, Troy Book, and Fall of Princes; the Book of Margery Kempe, the Wakefield "Second Shepherds' Play"; the Towneley "Noah"; and other works of drama, Sidhu proposes that Middle English writers use obscene comedy in predictable and unpredictable contexts to grapple with the disturbances that English society experienced in the century and a half following the Black Death. For Sidhu, obscene comedy emerges as a discourse through which writers could address not only issues of gender, sexuality, and marriage but also concerns as varied as the conflicts between Christian doctrine and lived experience, the exercise of free will, the social consequences of violence, and the nature of good government.
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century. Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez “ERRE.” Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
In our "wireless" world it is easy to take the importance of the undersea cable systems for granted, but the stakes of their successful operation are huge, as they are responsible for carrying almost all transoceanic Internet traffic. In The Undersea Network Nicole Starosielski follows these cables from the ocean depths to their landing zones on the sandy beaches of the South Pacific, bringing them to the surface of media scholarship and making visible the materiality of the wired network. In doing so, she charts the cable network's cultural, historical, geographic and environmental dimensions. Starosielski argues that the environments the cables occupy are historical and political realms, where the network and the connections it enables are made possible by the deliberate negotiation and manipulation of technology, culture, politics and geography. Accompanying the book is an interactive digital mapping project, where readers can trace cable routes, view photographs and archival materials, and read stories about the island cable hubs.
The work of Tunisian Jewish intellectual Albert Memmi, like that of many francophone Maghrebian writers, is often read as thinly veiled autobiography. Questioning the prevailing body of criticism, which continues this interpretation of most fiction produced by francophone North African writers, Lia Nicole Brozgal shows how such interpretations of Memmi’s texts obscure their not inconsiderable theoretical possibilities. Calling attention to the ambiguous status of autobiographical discursive and textual elements in Memmi’s work, Brozgal shifts the focus from the author to theoretical questions. Against Autobiography places Memmi’s writing and thought in dialogue with several major critical shifts in the late twentieth-century literary and cultural landscape. These shifts include the crisis of the authorial subject; the interrogation of the form of the novel; the resistance to the hegemony of vision; and the critique of colonialism. Showing how Memmi’s novels and essays produce theories that resonate both within and beyond their original contexts, Brozgal argues for allowing works of francophone Maghrebi literature to be read as complex literary objects, that is, not simply as ethnographic curios but as generating elements of literary theory on their own terms.
In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. X-rays are powerful. Moving through objects undetected, revealing the body as a tryptic of skin, tissue, and bone. X-rays gave rise to a transparent world and the belief that transparency conveys truth. It stands to reason, then, that our relationship with X-rays would be a complicated one of fear and fascination, acceptance and resistance, confusion and curiosity. In X-ray, Nicole Lobdell explores when, where, and how we use X-rays, what meanings we give them, what metaphors we make out of them, and why, despite our fears, we're still fascinated with them. In doing so, she draws from a variety of fields, including the history of medicine, science and technology studies, literature, art, material culture, film, comics, gender studies, architecture, and industrial design. Object Lessons is published in partnership with an essay series in The Atlantic.
From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.
In Media Hot and Cold Nicole Starosielski examines the cultural dimensions of temperature to theorize the ways heat and cold can be used as a means of communication, subjugation, and control. Diving into the history of thermal media, from infrared cameras to thermostats to torture sweatboxes, Starosielski explores the many meanings and messages of temperature. During the twentieth century, heat and cold were broadcast through mass thermal media. Today, digital thermal media such as bodily air conditioners offer personalized forms of thermal communication and comfort. Although these new media promise to help mitigate the uneven effects of climate change, Starosielski shows how they can operate as a form of biopower by determining who has the ability to control their own thermal environment. In this way, thermal media can enact thermal violence in ways that reinforce racialized, colonial, gendered, and sexualized hierarchies. By outlining how the control of temperature reveals power relations, Starosielski offers a framework to better understand the dramatic transformations of hot and cold media in the twenty-first century.
If you love Jodi Picoult, look no further than Nicole Trope, who may just be your cup of tea.' The Hoopla All Malia needed was a single litre of milk and now she's surrounded by police and Zach has disappeared. Detective Ali Greenberg knows that this is not the best case for her, not with her history - but she of all people knows what Malia is going through and what is at stake. Edna is worried about the new residents at the boarding house. She knows Mary would turn in her grave if she knew the kinds of people her son was letting in. And then there is someone else. Someone whose heart is broken. Someone who feels she has been unfairly punished for her mistakes. Someone who wants what she can't have. What follows is a heart-stopping game of cat-and-mouse and a race against the clock. As the hours pass and the day heats up, all hope begins to fade. 'If you're looking for the Australian equivalent of Jodi Picoult, look no further than Nicole Trope, who is making a name for herself as a writer of provocative family dramas with hard-hitting issues at their core.' Hannah Richell, author of Secrets of the Tides
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. When China’s War of Resistance against Japan began in July 1937, it sparked an immediate health crisis throughout China. In the end, China not only survived the war but emerged from the trauma with a more cohesive population. Intimate Communities argues that women who worked as military and civilian nurses, doctors, and midwives during this turbulent period built the national community, one relationship at a time. In a country with a majority illiterate, agricultural population that could not relate to urban elites’ conceptualization of nationalism, these women used their work of healing to create emotional bonds with soldiers and civilians from across the country. These bonds transcended the divides of social class, region, gender, and language.
During the second half of the nineteenth century and the first half of the twentieth, insurgencies erupted in imperial states and colonies around the world, including Britain’s. As Nicole Rizzuto shows, the writings of Ukrainian-born Joseph Conrad, Anglo-Irish Rebecca West, Jamaicans H. G. de Lisser and V. S. Reid, and Kenyan Ng gi wa Thiong’o testify to contested events in colonial modernity in ways that question premises underlying approaches in trauma and memory studies and invite us to reassess divisions and classifications in literary studies that generate such categories as modernist, colonial, postcolonial, national, and world literatures. Departing from tenets of modernist studies and from methods in the field of trauma and memory studies, Rizzuto contends that acute as well as chronic disruptions to imperial and national power and the legal and extra-legal responses they inspired shape the formal practices of literatures from the modernist, colonial, and postcolonial periods.
The first full length study of women's utopian spatial imagination in the seventeenth and eigtheenth centuries, this book explores the sophisticated correlation between identity and social space. The investigation is mainly driven by conceptual questions and thus seeks to link theoretical debates about space, gender and utopianism to historiographic debates about the (gendered) social production of space. As Pohl's primary aim is to demonstrate how women writers explore the complex (gender) politics of space, specific attention is given to spaces that feature widely in contemporary utopian imagination: Arcadia, the palace, the convent, the harem and the country house. The early modern writers Lady Mary Wroth and Margaret Cavendish seek to recreate Paradise in their versions of Eden and Jerusalem; the one yearns for Arcadia, the other for Solomon's Temple. Margaret Cavendish and Mary Astell redefine the convent as an emancipatory space, dismissing its symbolic meaning as a confining and surveilled architecture. The utopia of the country house in the work of Delarivier Manley, Sarah Scott and Mary Hamilton will reveal how women writers resignify the traditional metonym of the country estate. The study will finish with an investigation of Oriental tales and travel writing by Ellis Cornelia Knight, Lady Mary Montagu, Elizabeth Craven and Lady Hester Stanhope who unveil the seraglio as a location for a Western, specifically masculine discourse on Orientalism, despotism and female sexuality and offers their own utopian judgment.
Alchemies of Blood and Afro-Diasporic Fiction focuses on the resurgence of biological racism in 21st-century public discourse, the ontological and material turns in the academy that have occurred over the same time period, and how Afro-diasporic fiction has responded to both with alternative visions of bloodlines, kinship, and community. In thinking through conceptions of race, ethnicity, and materiality at work within both humanities research and popular culture, Nicole Simek asks how the figure of alchemy – that semi-scientific, semi-mystical search for gold and the elixir of long life – can help scholars address the epistemological and affective investments in blood, bloodlines, and genetics marking both academic and mainstream discourses. To answer this question, Simek examines neo-plantation and Afrofuturist narratives, Afropessimist interventions, museums and public memory projects, and direct-to-consumer genetic testing services in the French Caribbean and the United States. This comparative approach to cultural production helps pinpoint and better understand the intersections and divergences between scholarship trends and troubling features of a broader Zeitgeist.
How ideas of gender and climate change intersect with our path to a livable future. When you think "climate change," who comes to mind? Who's doing the science, the reporting, the protesting, the suffering? In Women and Climate Change, Nicole Detraz asks where women in the Global North figure in the picture, what that means, and why it matters. Her answers fill critical gaps in what we know about the politics of climate change and gender. Representations of climate change, like perceptions of gender, can make a profound difference in understanding expectations and actions around social, cultural, and political issues. Interviewing women living in the Global North who work in the climate change sphere, Detraz examines the crucial links between notions of climate change and gender—in particular, how women are portrayed in climate change debates. Where is their presence or absence recognized? What tasks are they expected to perform? What factors influence their roles? The answers provide a nuanced account of the characteristics, conditions, and positions associated with women's activities in and experiences of climate change—a multifaceted portrayal of women that also demonstrates the generalization and essentializing that can hinder goals of sustainability and gender justice. Because gender is a social construction, Detraz reminds us, change is possible. Her book offers the suggestion, and the hope, that identifying connections between ideas of gender and climate change might also alter our vision of a livable future.
A major contribution to Grass scholarship that looks at his career as a whole and identifies four phases or stages of his writing in terms of communicative strategy and style.
Data from the Education at a Glance in 2019 states that less than 2 percent of the United States’ and world’s population holds a doctorate degree. Germane to this fact, the National Center of Education statistics reported that, in the 2018-19 academic year, of the doctoral degrees awarded to women, only 10.9 percent were awarded to Black women compared to 63.6 percent awarded to White women in the U.S. Black women who are interested in pursuing a doctorate, already in doctoral programs, or in their field of doctoral work are in crucial need of resources, community, and support. For too long, Black women have faced many systemic barriers and various forms of racist exclusion and oppression in educational settings, which has often led to burnout, low sense of belonging, and low retention rates. This memoir, “Our Doctoral Journey: A collection of Black women’s experiences,” serves as a resource and toolkit for Black women doctors, future doctors, and professionals. Prepare yourselves to read transparent and ground-breaking stories from 24 co-authors, ranging from doctoral students to doctors to professionals, who, with great tenacity, have chosen to share their doctoral experiences. Undeniably, this memoir will give you hope, motivation, and determination to choose what is best for you and persist in your program or in your field of work. As the saying goes, “We’re all that we’ve got.”
Dance music plays a central role in the cultural, social, religious, and family lives of the people of the Democratic Republic of the Congo. Among the various genres popular in the capital city of Kinshasa, Congolese rumba occupies a special place and can be counted as one of the DRC’s most well-known cultural exports. The public image of rumba was historically dominated by male bandleaders, singers, and musicians. However, with the introduction of the danseuse (professional concert dancer) in the late 1970s, the role of women as cultural, moral, and economic actors came into public prominence and helped further raise Congolese rumba’s international profile. In Congo’s Dancers, Lesley Nicole Braun uses the prism of the Congolese danseuse to examine the politics of control and the ways in which notions of visibility, virtue, and socio-economic opportunity are interlinked in this urban African context. The work of the danseuse highlights the fact that public visibility is necessary to build the social networks required for economic independence, even as this visibility invites social opprobrium for women. The concert dancer therefore exemplifies many of the challenges that women face in Kinshasa as they navigate the public sphere, and she illustrates the gendered differences of local patronage politics that shape public morality. As an ethnographer, Braun had unusual access to the world she documents, having been invited to participate as a concert dancer herself.
As a result, Defending Privilege offers a counterhistory to scholarship on the novel's capacity to motivate the promulgation of human rights and champion social ascendance through the upwardly mobile realist character.
Voices of Conscience analyzes how the link between politics and conscience was articulated and shaped throughout the seventeenth century by confessors who acted as counsellors to monarchs. Against the backdrop of the momentous intellectual, theological, and political shifts that marked this period, the study examines comparatively how the ethical challenges of political action were confronted in Spain and France and how questions of conscience became a major argument in the hegemonic struggle between the two competing Catholic powers. As Nicole Reinhardt demonstrates, 'counsel of conscience' was not a peripheral feature of early-modern political culture, but fundamental for the definition of politics and conscience. Tracing the rise and fall of confessors as counsellors reveals the parallel transformation of both, approaching a historical understanding of the modernisation of politics with the idea of an 'individual conscience' at its heart. Placed at the junction of norms and practices, royal confessors, directly or in oblique reflection, shaped the ways in which the royal conscience was identified and scrutinized. By the same token, the royal confessors' expertise and activities remained a source of anxiety and conflict that triggered wide debate on the relationship between State and Church, religion and politics. The notion of 'counsel of conscience', of which this book provides the first in-depth analysis, allows the reader to re-examine and challenge fundamental historical paradigms such as the emergence of 'absolutism', individualisation, and the division of public and private. Putting theological concepts and religious dimensions back into political theory and practice sheds new light, not only on the importance of counselling for early modern statecraft, but also on the reconfiguration of the normative frameworks underlying it.
Bringing to light the long-shrouded symbolism and startling spiritual depth that renowned director Stanley Kubrick packed into every detail of his iconic films, this book excavates the subtle ways Kubrick calls attention to universal truths and shocking realities still pervading our society. It cites the master director's use of encoded graphic symbols, signifying light effects, doppelgangers, esoteric color-coding, and framing techniques that communicate Kubrick's underlying topics. Beginning with an exploration of the inspirational themes of his classic science fiction film 2001: A Space Odyssey, including the multilayered meaning of the Monolith, this book traces the themes and symbols encrypted in the films that followed during the director's impressive career. It reveals the oblique methods Kubrick used to underscore a wide range of humanitarian alarms covered in films as diverse as A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut, and the fascinating links these films have to one another. Surprising revelations discovered in Dr. Strangelove, Spartacus, Lolita, and Paths of Glory are also unveiled for the first time.
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