Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge.
Michelle Liu Carriger examines fashion and clothing controversies of the nineteenth century, drawing on performance theory to reveal how the apparently superficial or frivolous deeply affects the creation of identity.
Through interviews, close readings, and archival research, Bettina Judd draws on the fields of affect studies and Black studies to analyze the creative processes and contributions of Black women artists.
Offering a transnational account of anti-Blackness and white supremacy that pushes against the dominant emphasis on change that pervades current racial theory, Marzia Milazzo demonstrates that colorblindness is neither new nor a subtype of racist ideology, but a constitutive technology of racism.
Four of the Three Musketeers is the definitive history of the Marx Brothers’ hardscrabble early years honing their act in front of live audiences on the vaudeville circuit.
Dead Weight chronicles the experiences of a drug smuggler who, after being sentenced to eight years in state prison, earned a PhD in creative writing and became the only tenured professor in the United States with seven felony convictions.
This book imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of the horizon, sea, and sound as a critique of nation-state discourses and formations.
Pink Revolutions describes how queer politics in India occupies an uneasy position between the forces of neoliberal globalization, on the one hand, and the nationalist Hindu fundamentalism that has emerged since the 1990s, on the other.
Queer Tidalectics investigates how Anglophone writers James Baldwin, Jackie Kay, Thomas Glave, and Shani Mootoo employ the trope of fluidity to articulate a Black queer diasporic aesthetics.
This book challenges the notion that the bourgeois public sphere is the most important informal institution between social and political actors and the state. María Pía Lara draws on cinematic images of women’ s struggles to develop a concept of the feminist social imaginary.
