This book seeks to move twentieth-century German literary history away from its stubbornly persistent reliance on the political turning-points of 1933 and 1945. In the first part of the book, the authors analyze a synchronic corpus of literary journals, identifying a restorative aesthetic mood in the years 1930-1960 which persists across political date boundaries. In the second part, the careers of five writers are considered diachronically against this prevailing restorative climate: Gottfried Benn, Johannes R. Becher, Bertolt Brecht, Günter Eich, and Peter Huchel. Combining these two approaches, the authors show that a fresh perspective that challenges established literary-historical periodisations can shed light on the common cultural and aesthetic ground shared by writers, editors and critics across the ideological divides of the era.
German radicals of the 1960s announced the death of literature. For them, literature both past and present, as well as conventional discussions of literary issues, had lost its meaning. In The Institution of Criticism, Peter Uwe Hohendahl explores the implications of this crisis from a Marxist perspective and attempts to define the tasks and responsibilities of criticism in advanced capitalist societies. Hohendahl takes a close look at the social history of literary criticism in Germany since the eighteenth century. Drawing on the tradition of the Frankfurt School and on Jürgen Habermas's concept of the public sphere, Hohendahl sheds light on some of the important political and social forces that shape literature and culture. The Institution of Criticism is made up of seven essays originally published in German and a long theoretical introduction written by the author with English-language readers in mind. This book conveys the rich possibilities of the German perspective for those who employ American and French critical techniques and for students of contemporary critical theory.
A captivating portrait of the crucible of magic, science, and religion at the court of the doomed dreamer Rudolf II in Renaissance Prague. At the end of the sixteenth century, the greatest philosophers, alchemists, astronomers, and mathematicians of the day flocked to Prague to work under the patronage of the Holy Roman Emperor Rudolf II. The Theatre of the World is the enchanting story of Rudolf II, an emperor more interested in the great talents and minds of his times than in the exercise of his power. Rarely leaving Prague Castle, he gathered around him a galaxy of famous figures: the Italian painter Giuseppe Arcimboldo, the Danish astronomer Tycho Brahe, the German mathematician Johannes Kepler, and the English magus John Dee. Entranced, like Hamlet, by the new Renaissance learning, Rudolf found it nearly impossible to make decisions. He faced the threats of religious discord and the Ottoman Empire, along with deepening melancholy and an ambitious younger brother. As a result, he lost his empire and nearly his sanity, but he enabled Prague to enjoy a golden age of peace and creativity before Europe was engulfed in the Thirty Years War. "The Theatre of the World" is a beguiling and dramatic human story filled with angels and devils, high art and low cunning, talismans and stars. It offers a captivating perspective on a pivotal moment in the history of Western Civilization. "From the Hardcover edition.
Covering criminal justice history on a cross-national basis, this book surveys criminal justice in Western civilization and American life chronologically from ancient times to the present. It is an introduction to the historical problems of crime, law enforcement and penology, set against the background of major historical events and movements. Integrating criminal justice history into the scope of European, British, French and American history, this text provides the opportunity for comparisons of crime and punishment over boundaries of national histories. The text now concludes with a chapter that addresses terrorism and homeland security. Each chapter enhanced with supplemental boxes: "timeline," "time capsule," and "featured outlaw." Chapters also contain discussion questions, notes and problems.
This book provides and defends an analysis of our concept of the meaning of a literary work. P. D. Juhl challenges a number of widely held views concerning the role of an author's intention: the distinction between the real and the implied" author; and the question of whether a work has not one correct, but many acceptable interpretations. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The biography of H.G. Adler (1910-88) is the story of a survivor of Theresienstadt, Auschwitz, and two other concentration camps who not only lived through the greatest cataclysm of the 20th century, but someone who also devoted his literary and scholarly career to telling the story of those who perished in over two dozen books of fiction, poetry, history, sociology, and religion. And yet for much of his life he remained almost entirely unknown. A writer's writer, a scholar of seminal, pioneering works on the Holocaust, a renowned radio essayist in postwar Germany, a last representative of the Prague Circle of literature headed by Kafka, a key contributor to the prosecution in the trial of Adolf Eichmann, Adler was a man of his time whose times lived through him. His is the story of many others, but also one that is singularly his own. And at its heart lies a profound story of love and perseverance amid the loss of his first wife, Gertrud Klepetar, who accompanied her mother to the gas chamber in Auschwitz, and the courtship and extended correspondence with Bettina Gross, a Prague artist who escaped to the Britain, only to later learn that her mother had also been in Theresienstadt with Adler before her eventual death in Auschwitz. His delivery of a lecture in Theresienstadt commemorating Kafka's sixtieth birthday, and with Kafka's favorite sister present; the nurturing of a younger generation of artists and intellectuals, including the Israeli artist Jehuda Bacon and the Serbian novelist Ivan Ivanji; the preservation of Viktor Ullmann's compositions and his opera The Emperor of Atlantis, only to see them premiered decades later to world acclaim; and the penury of postwar life while churning out the novels, poetry, and scholarship that would make his reputation - all of these are part of a life survived in the moment, but dedicated to the future, and that of a man committed to helping human dignity survive in his time and that to come.
This book analyses the legal and aesthetic discourses that combine to shape the image of the criminal, and that image's contemporary endurance. The author traces the roots of contemporary ideas about criminality back to legal, philosophical and aesthetic concepts originating in the nineteenth century. Building on the ideas of Foucault and Walter Benjamin, Hutchings argues that the criminal, as constructed in places such as popular crime stories or the law of insanity, became an obsession which haunted nineteenth century thought.
Walter Benjamin and the Aesthetics of Power explores Walter Benjamin?s seminal writings on the relationship between mass culture and fascism. The book offers a nuanced reading of Benjamin?s widely influential critique of aesthetic politics, while it contributes to current debates about the cultural projects of Nazi Germany, the changing role of popular culture in the twentieth century, and the way in which Nazi aesthetics have persisted into the present. Lutz Koepnick first explores the development of the aestheticization thesis in Benjamin?s work from the early 1920s to his death in 1940. Pushing Benjamin?s fragmentary remarks to a logical conclusion, Koepnick sheds light on the ways in which the Nazis employed industrial mass culture to redress the political as a self-referential space of authenticity and self-assertion. Koepnick then examines to what extent Benjamin?s analysis of fascism holds up to recent historical analyses of the National Socialist period and whether Benjamin?s aestheticization thesis can help conceptualize cultural politics today. Although Koepnick insists on crucial differences between the stage-managing of political action in modern and postmodern societies, he argues throughout that it is in Benjamin?s emphatic insistence on experience that we may find the relevance of his reflections today. Walter Benjamin and the Aesthetics of Power is both an important contribution to Benjamin studies and a revealing addition to our understanding of the Third Reich and of contemporary culture?s uneasy relationship to Nazi culture.
In this ambitious and venturesome book, Peter W. Rose applies the insights of Marxist theory to a number of central Greek literary and philosophical texts. He explores major points in the trajectory from Homer to Plato where the ideology of inherited excellence—beliefs about descent from gods or heroes—is elaborated and challenged. Rose offers subtle and penetrating new readings of Homer's Iliad and Odyssey, Pindar's Tenth Pythian Ode, Aeschylus's Oresteia, Sophokles' Philoktetes, and Plato's Republic. Rose rejects the view of art as a mere reflection of social and political reality—a view that is characteristic not only of most Marxist but of most historically oriented treatments of classical literature. He applies instead a Marxian hermeneutic derived from the work of the Frankfurt School and Fredric Jameson. His readings focus on illuminating a politics of form within the text, while responding to historically specific social, political, and economic realities. Each work, he asserts, both reflects contemporary conflicts over wealth, power, and gender roles and constitutes an attempt to transcend the status quo by projecting an ideal community. Following Marx, Rose maintains that critical engagement with the limitations of the utopian dreams of the past is the only means to the realization of freedom in the present. Classicists and their students, literary theorists, philosophers, comparatists, and Marxist critics will find Sons of the Gods, Children of Earth challenging reading.
This fascinating, fully illustrated volume is the definitive guide to every aspect of the workhouse and of the poor relief system in which it played a pivotal part. Compiled by Peter Higginbotham, one of Britain's best-known experts on the subject, this A-Z cornucopia covers everything from the 1725 publication An Account of Several Work-houses to the South African Zulu admitted to Fulham Road Workhouse in 1880. With hundreds of fascinating anecdotes, plus priceless information for researchers including workhouse locations throughout the British Isles, useful websites and archive repository details, maps, plans, original workhouse publications and an extensive bibliography, it will delight family historians and general readers alike. Where was my local workhouse? What records did they keep? What is gruel and is it really what inmates lived on? How did you get out of a workhouse? What famous people were once workhouse inmates? Are there any workhouse buildings I can visit? If these are the kinds of questions you've ever wanted to know the answer to, then this is the book for you.
The AMX 13 was originally designed in the immediate aftermath of the Second World War. It represents French ambitions for national resurgence and withdrawal from wartime dependence on American military technology.Being a light tank it was an ambitious and far sighted departure from conventional tank design and it found a ready export market as well as being a critical part in the French Army arsenal. Its basic hull design lent itself to the development of a vast list of variants.French designers progressively modernized, and indeed reinvented, the AMX13 and enabled it to claim to be one of the most successful armored vehicle programs of the postwar period. It proved its worth in numerous small wars worldwide in the service of many countries.This, the first commercially published work on the AMX13 in English, examines in detail the technical industrial and tactical story of this remarkably successful armored fighting vehicle. The authoritative text is backed by an impressive selection of images
This book focuses on some new issues associated with British appeasement policy in the 1930s. It looks particularly at how the artificial split between international history and military history has led to the over-simplification of the factors involved in formulating the appeasement policy. It argues that, contrary to anti-appeasement mythology, Britain was not left defenceless in 1939, having in fact a highly sophisticated aerial defence system for which Baldwin and Chamberlain have received little credit. Conversely, the disaster of 1940 was not a consequence of the sins of the British appeasers, but the result of a seriously misconceived French strategy, and brilliant German planning. The book further argues that Anglo-Czech relations between 1935 and 1938 showed that both the Foreign Office and anti-appeasers had deep rooted anti-Slav prejudices. However, new Czech research shows a more sympathetic understanding of how, and why, Britain adopted the appeasement policy. Important new Soviet sources are also considered, such as notably the Maisky Diaries (2016), for their relevance to British policy.
Displaying the distinctive combination of narration and philosophy for which he is well known, this new book by Peter Sloterdijk develops a radically new account of globalization at the beginning of the twenty-first century. The author takes seriously the historical and philosophical consequences of the notion of the earth as a globe, arriving at the thesis that what is praised or decried as globalization is actually the end phase in a process that began with the first circumnavigation of the earth Ð and that one can already discern elements of a new era beyond globalization. In the end phase of globalization, the world system completed its development and, as a capitalist system, came to determine all conditions of life. Sloterdijk takes the Crystal Palace in London, the site of the first world exhibition in 1851, as the most expressive metaphor for this situation. The palace demonstrates the inevitable exclusivity of globalization as the construction of a comfort structure Ð that is, the establishment and expansion of a world interior whose boundaries are invisible, yet virtually insurmountable from without, and which is inhabited by one and a half billion winners of globalization; three times this number are left standing outside the door.
Why should urban planning in our time be obsessed with the issue of sustainability? Or differently put, is sustainability really as desirable and possible as its proponents in urban planning (and other related fields like economics, political science, environmental studies, architecture, and so on) would like us to believe? Contrary to the conventional wisdom held by many since the modern era, the concern with sustainability has been much exaggerated and distorted, to the point that it is fast becoming a new intellectual fad, so that its dark sides have been unwarrantedly ignored or downgraded. This is not to say, however, that the literature on sustainability in urban planning (and other related fields) hitherto existing in history has been full of nonsense. Indeed, on the contrary, much can be learned from different theoretical approaches in the literature. The important point to remember here, however, is that this book provides an alternative (better) way to understand the nature of sustainability in urban planning (and other related fields), which learns from different sides of the debate but in the end transcends them all. The urgency of this inquiry should not be underestimated, as it concerns not only urban planning (as a case study here) but also other highly related yet very serious challenges in our time (e.g., ecological, economic, demographic, technological, moral, spiritual, political, and the like). Therefore, if true, this seminal view will fundamentally change the way that we think about the issue of sustainability, with its enormous implications not only for understanding the future of urban planning, in a small sense—but also for predicting the relevance of sustainability in relation to the entire domain of human knowledge for the human future and what I originally called its “post-human” fate, in a broad sense.
This is a brilliant, provocative long essay on the rise and fall and survival of modernism, by the English-languages' greatest living cultural historian.
Recent events, such as the COVID-19 pandemic, the invasion of Ukraine, the rise of right-wing populism, the growing economic inequality and political instability, and the climate emergency, are indicative of the decomposition of the global liberal democratic order. Order, Crisis, and Redemption is a critical reflection on the limitations of Carl Schmitt's political theology, an attempt to think, with and beyond Schmitt, about the parameters of this crisis. Through a sustained critical engagement, ranging over Schmittian texts, including the lesser known, from the 1920s to the 1970s, the book elaborates three main themes that preoccupied Schmitt: order, crisis, and redemption. In times of crisis, as with the one we are currently experiencing, we are faced with the dilemma of either shoring up the current political and legal order—through ever more authoritarian measures—or radically transforming it. Redemption, in the full theological sense of the word, thus implies the possibility of a new understanding of ethics and politics, aimed at creating a more just world.
Roberto Esposito: Law, Community and the Political provides a critical legal introduction to this increasingly influential Italian theorist’s work, by focusing on Esposito’s reconceptualisation of the relationship between law, community and the political. The analysis concentrates primarily on Esposito’s Catégories de l’Impolitique, Communitas, Immunitas and Bíos, which, it is argued, are animated by an abiding concern with the position of critique in relation to the tradition of modern and contemporary legal and political philosophy. Esposito’s fundamental rethinking of these notions breaks with the existing framework of political and legal philosophy, through the critique of its underlying presuppositions. And, in the process, Esposito rethinks the very form of critique. As the first monograph-length study of Esposito in English, Roberto Esposito: Law, Community and the Political will be of considerable interest to those working in the areas of contemporary legal and political thought and philosophy.
The exposed lightbulb is THE must-have design item of the 21st-century interior so come be inspired by the host of cutting-edge ideas in this essential guide as design experts Charlotte and Peter Fiell walk you through lighting with bare bulbs to achieve and complement a range of styles, from opulent to industrial, rustic to minimalist. From high-end and classic fixtures to clever design hacks using readily available and inexpensive filament-based bulbs, there are ideas to fit every budget. Learn about the evolution of the electric lightbulb, from its invention in the late 19th century by Joseph Swan and Thomas Edison, right up to today’s most interesting and innovative trends in lighting technology, from connectivity and wireless illumination to healthier lighting and fibre-optic natural-light systems. This original modern design book is a must for interior design fans.
With brilliance and considerable daring, Peter Gordon's Rosenzweig and Heidegger broaches the possibility of a shared horizon and a promising dialogue between these two seminal figures—these antipodes—of twentieth-century thought. It will be the bench mark for future work in the field."—Thomas Sheehan, author of Heidegger: The Man and the Thinker "In this brilliant book, Peter Gordon sheds light on Rosenzweig's most important philosophical book, The Star of Redemption, by means of an unexpected (and sure to be controversial) comparison—with the philosophy of Heidegger's Being and Time. The result is a "must read" for anyone with a serious interest in either thinker."—Hilary Putnam, author of The Collapse of the Fact/Value Dichotomy and Other Essays "A major work. Gordon persuasively argues that the true originality of Rosenzweig's achievement, heretofore associated with a distinctively "Jewish" break with his German philosophical milieu, only becomes intelligible from within that very milieu. Focusing on resemblances between Rosenzweig's and Heidegger's projects, Gordon discerns the contours of a post-Nietzschean religious sensibility condensed into the paradox of a "redemption-in-the-world." This book will be valued by readers of both Heidegger and Rosenzweig, and by anyone interested in the intersections of philosophy and religion."—Eric L. Santner, author of On the Psychotheology of Everyday Life: Reflections on Freud and Rosenzweig "A comparative reading of Rosenzweig's Star of Redemption and Heidegger's Being and Time. Peter Eli Gordon has written a work of exemplary erudition, analytical nuance, philosophical acumen and expository grace."—Paul Mendes-Flohr, author of German Jews: A Dual Identity
A master historian shows us a new side of the Victorian Era--the role of the Bourgeois as reactionaries, revolutionaries, and middle-of-the-roaders in the passage of high culture toward modernism. The Victorians in this richly peopled narrative maneuvered through decades marked by frequent shifts in taste, some seeking safety in traditional styles, others drawn to the avant-garde of artists, composers, and writers. Peter Gay's panoramic survey offers a fresh view of the ideas and sensibilities that dominated Victorian culture.
This book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English.
The Critical Idyll is a socio-literary re-evaluation of Goethe’s idyllic verse epic, Hermann und Dorothea. The revival of traditional German values as markers of national identity against the approaching revolutionary armies of the French in the early 1790s is analysed in the main figure, the archetypal German youth, Hermann. Confronted by the misery of German refugees from the left-bank territories in 1796, Hermann becomes the spokesman for a new sense of German identity. The refugee Dorothea, and her first finance, the German Jacobin who died in Paris, provide a perspective on the themes of German identity and individual freedom at this time. The national feelings Hermann expresses are based on a language and community in the German small town, rather than on earlier territorial or dynastic concepts of the German nation. The traditional literary form of the idyll is reformed through irony and parody into a modern, critical and self-reflexive work in which central themes of post-revolutionary society are foregrounded.
Peter Weiss (1916-1982) was virtually unknown in the mid-1960s when Peter Brook made Marat/Sade into a film. The weaving of time, space, plot, real-and-imagined characters, sexual liberation, and surrealist imagery made Marat/Sade a sensation. Little did audiences realize that this counterculture classic was written by a German Jew. At that time, Weiss was also at work on a play about Auschwitz: The Investigation. These two dramas are in this volume along with The Shadow of the Body of the Coachman. All are cogently introduced and edited by Robert Cohen.
Rudolf II-Habsburg heir, Holy Roman Emperor, king of Hungary, Germany, and the Romans-is one of history's great characters, and yet he remains largely an unknown figure. His reign (1576-1612) roughly mirrored that of Queen Elizabeth I of England, and while her famous court is widely recognized as a sixteenth century Who's Who, Rudolf 's collection of mathematicians, alchemists, artists, philosophers and astronomers-among them the greatest and most subversive minds of the time-was no less prestigious and perhaps even more influential. Driven to understand the deepest secrets of nature and the riddle of existence, Rudolf invited to his court an endless stream of genius-Danish astronomer Tycho Brahe, German mathematician Johannes Kepler, English magus John Dee, Francis Bacon, and mannerist painter Giuseppe Archimboldo among many others. Prague became the artistic and scientific center of the known world-an island of intellectual tolerance between Catholicism, Protestantism, and Islam. Combining the wonders and architectural beauty of sixteenth century Prague with the larger than-life characters of Rudolf 's court, Peter Marshall provides an exciting new perspective on the pivotal moment of transition between medieval and modern, when the foundation was laid for the Scientific Revolution and the Enlightenment.
Since the structuralist debates of the 1970s the field of textual analysis has largely remained the preserve of literary theorists. Social scientists, while accepting that observation is theory laden have tended to take the meaning of texts as given and to explain differences of interpretation either in terms of ignorance or bias. In this important contribution to methodological debate, Peter Ekegren uses developments within literary criticism, philosophy and critical theory to reclaim this study for the social sciences and to illuminate the ways in which different readings of a single text are created and defended.
An examination of world's fairs in Britain and its two most important 19th-century colonies, Australia and India; arguing that the fairs provided a forum for shaping both national and imperial identities.
Enriched by the methods and insights of social history, the history of mentalites, linguistics, anthropology, literary theory, and art history, intellectual and cultural history are experiencing a renewed vitality. The far-ranging essays in this volume, by an internationally distinguished group of scholars, represent a generous sampling of these new studies.
The concluding volume in Peter Gay's magisterial study of the European and American middle classes from the 1820s to the outbreak of World War I. Photos.
Minding the Darkness is the final volume of Peter Dale Scott's landmark trilogy Seculum. Following Coming to Jakarta and Listening to the Candle, it brings stunning, triumphant conclusion to a remarkable and sui generis poem. "There is nothing quite like these books," as the American Book Review remarked: "Scott's trilogy, only two-thirds completed as yet, is certain to be one of the most remarkable and challenging works of our rime." Scott's hypnotic epic poem concerns the political and the personal, and their darkly powerful relationships. With its riveting images, Poundian collage, tight three-line stanzas, and eerie, accumulated juxtapositions, Minding the Darkness fully hears out James Laughlin's opinion that "Not since Robert Duncan's Groundwork and before that William Carlos Williams Paterson, has New Directions published a long poem as important as Peter Dale Scott's.
A revelatory work that examines the intricate relationship between history and literature, truth and fiction—with some surprising conclusions. Focusing on three literary masterpieces—Charles Dickens's Bleak House (1853), Gustave Flaubert's Madame Bovary (1857), and Thomas Mann's Buddenbrooks (1901)—Peter Gay, a leading cultural historian, demonstrates that there is more than one way to read a novel. Typically, readers believe that fiction, especially the Realist novels that dominated Western culture for most of the nineteenth century and beyond, is based on historical truth and that great novels possess a documentary value. That trust, Gay brilliantly shows, is misplaced; novels take their own path to reality. Using Dickens, Flaubert, and Mann as his examples, Gay explores their world, their craftsmanship, and their minds. In the process, he discovers that all three share one overriding quality: a resentment and rage against the society that sustains the novel itself. Using their stylish writing as a form of revenge, they deal out savage reprisals, which have become part of our Western literary canon. A New York Times Notable Book and a Best Book of 2002.
The author of the bestseller Freud presents a close examination of the aggression--and debate about aggression--that raged through the Victorian Age. Gay looks at the works of such figures as Theodore Roosevelt and Nietzsche to present penetrating new insights.
Why did the British, then the leading nation in science and technology, fall far behind in the race to develop the aeroplane before the First World War? Despite their initial advantage, they were overtaken by the Wright brothers in America, by the French and the Germans. Peter Reese, in this highly readable and highly illustrated account, delves into the fascinating early history of aviation as he describes what happened and why. He recalls the brilliant theoretical work of Sir George Cayley, the inventions of other pioneers of the nineteenth century and the daring exploits of the next generation of airmen, among them Samuel Cody, A.V. Roe, Bertram Dickson, Charles Rolls and Tommy Sopwith. His narrative is illustrated with a wonderful selection of over 120 archive drawings and photographs which record the men and the primitive flying machines of a century ago.??As featured on BBC Radio Surrey and in Essence Magazine.
This compendium offers a textured historical and comparative examination of the significance of locality or "place," and the role of urban representations and spatial practices in defining national identities. Drawing upon a wide range of disciplines - from literature to architecture and planning, sociology, and history - these essays problematize the dynamic between the local and the national, the cultural and the material, revealing the complex interplay of social forces by which place is constituted and contributes to the social construction of national identity in Asia, Latin America, and the United States. These essays explore the dialogue between past and present, local and national identities in the making of "modern" places. Contributions range from an assessment of historical discourses on the relationship between modernity and heritage in turn-of-the-century Suzhou to the social construction of San Antonio's Market Square as a contested presencing of the city's Mexican past. Case studies of the socio-spatial restructuring of Penang and Jakarta show how place-making from above by modernizing states is articulated with a claims-making politics of class and ethnic difference from below. An examination of nineteenth-century Central America reveals a case of local grassroots formation not only of national identity but national institutions. Finally, a close examination of Latin American literature at the end of the nineteenth century reveals the importance of a fantastic reversal of Balzac's dystopian vision of Parisian cosmo-politanism in defining the place of Latin America and the possibilities of importing urban modernity.
This book is a cultural critique of labor and globalization that considers whether one can represent the other. The cultural representation of labor is a challenge in how globalization is understood. Workers may be everywhere in the world but cultural correlatives are problematic. By elaborating cultural theory and practice this book examines why this might be so. If globalization unites workers via production and capital flows, it often writes over traditional or progressive forms of unity. Worlds of work have expanded in the last half century, yet labor has receded within cultural discourse. By considering critical and historical concepts in the workers’ inquiry, the subject, and value, and provocative projects in cultural representation itself, this study expands our lexicon of labor to understand more fully what “workers of the world” means under globalization. As such the book offers broad appeal to students and teachers of Global and Cultural Studies and will interest all those who take seriously how the worker is articulated at a global scale.
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