Böcker utgivna av Duke University Press

Ranjan Ghosh and J. Hillis Miller-two thinkers from different continents, cultures, training, and critical perspectives-debate and reflect upon what literature is, can be, and do in variety of contexts ranging from Victorian literature and Chinese literary criticism to Sanskrit Poetics and Continental philosophy.

The eminent critic, historian, and former member of the Art & Language collective Terry Smith explores the artistic, philosophical, political, and geographical dimensions of conceptual art and conceptualism while offering a theory of contemporary art.

With an adventurous writing style, Anand Pandian explores the transformative potential of cinema, following Tamil films from the spark of artistic impulse through their production, marketing, and reception to show how cinema recasts the ordinary experience of everyday life.

In Spill poet, independent scholar, and activist Alexis Pauline Gumbs presents a commanding collection of poetry inspired by Black feminist literary critic Hortense Spillers depicting scenes of fugitive Black women and girls seeking freedom from gendered violence and racism.

In Collecting, Ordering, Governing a diverse team of international scholars explore the relationships between anthropological fieldwork, museum collecting and display, and practices of social governance of metropolitan, settler, and colonized populations in the early twentieth-century in Australia, Britain, France, New Zealand, and the United States.

In Fungible Life Aihwa Ong traces the revolutionary scientific developments in Asia by investigating how biomedical centers in Biopolis, Singapore and China mobilize ethnicized "Asian" bodies and health data for genomic research.

Unavailable until now, these eight lectures delivered by Stuart Hall in 1983 at the University of Illinois introduced North American audiences to the intellectual history of British cultural studies while simultaneously presenting Hall's original engagements with the theoretical positions that contributed to the formation of cultural studies.

Lorgia Garcia-Pena constructs the genealogy of dominicanidad, using it as a category to understand how official narratives have racialized Dominican bodies as a way to sustain the nation's borders. Examining artistic and literary representations of Dominican history, she examines how marginalized Dominicans have contested official narratives to avoid exclusion.

Offering a new theory of queer world cinema, Karl Schoonover and Rosalind Galt explore how it intersects with shifting ideals of global politics and cinema aesthetics to demonstrate its potential to disturb dominant modes of world making and to forge spaces of queer belonging.

George Ciccariello-Maher brings the work of Georges Sorel, Frantz Fanon, and Enrique Dussel together with contemporary Venezuelan politics to formulate a decolonized dialectics that is suited to the struggle against the legacies of slavery and colonialism while also breaking the impasse between dialectics and postcolonial theory.

Natasha Lightfoot tells the story of how Antigua's newly freed black working people struggled to realize freedom, prior to and in the decades following their emancipation in 1834. Their continued efforts in the face of oppression complicate common definitions of freedom and narratives about newly freed slaves in the Caribbean.

Using a theoretical framework built on Lacan and Foucault, Licia Fiol-Matta traces the careers of four iconic female Puerto Rican singers to explore how their voices, performance style, physical appearance, and subject matter of their songs challenged social and cultural norms.

Taking disability theory out of a Western context, Eunjung Kim questions the assumptions that treating disabilities with cure represents a universal good by examining the manifestations of violence that accompany medical and nonmedical cures in twentieth- and early twenty-first-century Korea.

Drawing on memoir, history, and theory, Eli Clare complicates the understanding of cure, seeing it as an ideology that serves contradictory purposes-from saving lives to social control-while critiquing cure rhetoric and the drive to cure disabled people through an insistence of the value of disability.

In The Revolution Has Come Robyn C. Spencer traces the Black Panther Party's organizational evolution in Oakland, California, examining how its internal politics along with external forces such as COINTELPRO shaped the Party's efforts at fostering self-determination in Oakland's black communities.

Alexander Laban Hinton offers a detailed analysis of a former Khmer Rouge security center commandant who was convicted for overseeing the interrogation, torture, and execution of nearly 20,000 Cambodians. Interested in how someone becomes an executioner, Hinton provides numerous ways to consider justice, genocide, memory, truth, and humanity.

Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music, as well as painting, design, dance, and poetry.

Karin Amimoto Ingersoll uses her concept of seascape epistemology to articulate an indigenous Hawaiian way of knowing founded on a sensorial, intellectual, and embodied literacy of the ocean that can provide the means for generating an alternative indigenous politics and ethics.

Kath Weston addresses the emergence of a new animism in the context of food, energy, water, and climate to trace how new intimacies between humans, animals, and the environment are emerging as people attempt to understand how the high-tech ecologically damaged world they have made is remaking them.

Finding biopolitics unable to adequately reveal the mechanisms of power that govern contemporary life, Elizabeth A. Povinelli offers "geontopower" as a new theory of power that operates through the regulation of clear distinctions between life and nonlife.

Michael Boyce Gillespie shifts the ways we think about black film, seeing it not as the representation of the black experience, but as the visual negotiation between film as art and the social construction of race, as well as an interdisciplinary form that enacts black visual and expressive culture.

In Terminated for Reasons of Taste, veteran rock critic Chuck Eddy brings lost, ignored, and maligned pop music to the fore, considering marginalized styles and artists right alongside pop music's heavyweights like Bruce Springsteen, the Beastie Boys, and Taylor Swift.

In Religion and the Making of Nigeria Olufemi Vaughan examines how Christian, Muslim, and indigenous religious structures along with the legacies of British colonial rule have provided the essential social and ideological frameworks for the construction of contemporary Nigeria.

Presents a theoretical analysis of Japanese thinkers and activists' efforts to reintegrate the natural environment into Japan's social and political thought in the late nineteenth century and early twentieth.

Focused on the intimate effects of large-scale economic transformations, this book illuminates how everyday efforts to imagine, resist, and enact market reforms shape sexual desires and subjectivities.

Highlighting race as both an overt and underlying force that shaped life in and beyond the Zone, this title details how local traditions and colonial policies interacted and frequently clashed.

Seeks to understand both Capital-Nation-State, the interlocking system that is the dominant form of modern global society, and the possibilities for superseding it.

Presents an ethnography of seven Gullah/Geechee women from the South Carolina lowcountry. This book emphasizes that this communication affirms the women's spiritual faith - which seamlessly integrates Christian and folk traditions - and reinforces their position as powerful culture keepers within Gullah/Geechee society.

Combining political theory with ethnographic research among the Mohawks of Kahnawake, a reserve community in what is now southwestern Quebec, this book examines their struggles to articulate and maintain political sovereignty through centuries of settler colonialism.

Shows how musical acts and performances generate their own aesthetic and political force, creating, however fleetingly, a shared sense of the world among otherwise diverse listeners. This book argues that communities grounded in the act and experience of listening can give rise to new political ideas and expression.