Bøger udgivet af University of Michigan Press

At the turn of the twentieth century, Francis W. Kelsey began to amass a large collection of artifacts from ancient sites across the Mediterranean, with an emphasis on Imperial Rome, to broaden the teaching of antiquity at the University of Michigan. Among the objects now housed in the museum that bears his name is a collection of seven hundred colorful stones dating to the Roman period, one of the largest and most varied collections of Roman decorative stones outside Europe. These pieces were obtained as archaeological artifacts, mostly architectural, with many deriving from well-known ancient buildings, such as the Baths of Diocletian in Rome and the Palace of Herod in Jericho, allowing for new interpretations of their architectural decoration and design. Chapters trace the formation of the collection, study the archaeology of the artifacts, and detail the history of each stone and its study with a comprehensive bibliography. In keeping with the nature of the collection, Roman Decorative Stone Collections focuses on archaeological contexts and object biographies, from the stones' first use to their eventual display in the Kelsey Museum. Entries are accompanied by rich photographs detailing the stone's appearances, environmental factors, and their collectors. The fully illustrated catalogue includes essays deriving from Kelsey's original notes on sources, buildings, sites, and dealers. As the first formal catalogue of these items, Roman Decorative Stone Collections is an accessible resource of Roman archaeology, antiquities, and the decorative arts.

Typologies of Humor in African Literatures is a study on the use of humor and comedy in African literary texts across the twentieth century. Despite humor being omnipresent in African societies and their literatures, discussions of contemporary African literature have largely dismissed it as being too lighthearted compared to the more serious issues of post-colonial history, class inequality, and politics. Adwoa A. Opoku-Agyemang, while acknowledging the seriousness of the subject matter, establishes humor as an essential component of African fiction. The book analyzes four comedic archetypes: the Trickster, who is unapologetically amoral and entertaining; the Mimic, whose everyday dealings exude ambiguity; the Interpreter, who demonstrates the comic potential of language differences while showing how a single message can mean contrasting things; and the Deviant, who throws norms into question all the while reinforcing them. These character types and the humor they produce present a constant pursuit of balance between contrasting worldviews and frames of reference within the imbrication of different languages, classes, political factions, genders, and (un)officialdoms. The product of these rowdy relations are people who take the weirdness and run with it to generate diegetic and intradiegetic laughs. By analyzing Francophone and Anglophone African writing and how it overlays local languages, Opoku-Agyemang contributes a uniquely African voice to the primarily Western-dominated field of humor studies.

The alignment of voter preferences and the preferences of their parliamentary representatives has long been understood as a vital part of representative democracy. However, recent decades have seen a considerable increase in such gaps between mass (the public) and elite (the representatives) policy preferences, appearing not just as isolated or single-topic issues, but rather across the spectrum of political dimensions. The negative effects can include decreased trust and voter engagement, dissatisfaction with democratic ideals and process, and even democratic backsliding. Mass-Elite Representation Gap in Old and New Democracies brings together a global array of scholars to examine the issue from new angles, drawing on evidence from North Africa, East Asia, Southeast Asia, South America, and Europe. This global-level analysis of different representation gaps demonstrates that these gaps vary in content, structure, and the timing of formation. Moreover, recognizing the socially, culturally, and internationally embedded nature of party politics, the contributors in the volume trace the historical origin of gaps observed in different world regions. The findings show that earlier choices made by political elites during historical-critical junctures lead to preference mismatch, undermining the quality of democratic representation.

Great Power competition is back. On the two sides of the Atlantic, however, this concept often means different things. While the United States is focused on China, Europe is preoccupied with Russia. Yet shifting American priorities toward Asia requires reconceptualizing the future role of NATO. In Europe, this shift has led to serious thought about how to achieve strategic autonomy that will allow Europe to guarantee its own security regardless of strategic choices made in Washington. As Chinese strategy focuses on dividing European actors and making them more economically dependent on Beijing, these developments may undermine Washington's influence in Europe while limiting potential European action against Chinese interests. With a mix of research methodologies applied by scholars from both sides of the Atlantic, Turbulence Across the Sea offers a comprehensive analysis of relations among European and North American actors in the context of strategic competition among the United States, Europe, Russia, and China. In doing so, it demonstrates that a reaffirmation of transatlantic cooperation is necessary to maintain security in the face of aggressive moves by both Russia and China. By analyzing attitudes from the perspective of both the various actors (Britain, France, Germany, and the European Union) and various sectors (intelligence cooperation, foreign direct investments, technology, and the defense industry), this book provides readers with a comprehensive perspective on the challenges and opportunities in the shifting landscape of security in the twenty-first century.

The Revolution Will Be Improvised: The Intimacy of Cultural Activism traces intimate encounters between activists and local people of the civil rights movement through an archive of Black and Brown avant-gardism. In the 1960s, Student Nonviolent Coordinating Committee (SNCC) activists engaged with people of color working in poor communities to experiment with creative approaches to liberation through theater, media, storytelling, and craftmaking. With a dearth of resources and an abundance of urgency, SNCC activists improvised new methods of engaging with communities that created possibilities for unexpected encounters through programs such as The Free Southern Theater, El Teatro Campesino, and the Poor People's Corporation. Reading the output of these programs, Elizabeth Rodriguez Fielder argues that intimacy-making became an extension of participatory democracy. In doing so, Fielder supplants the success-failure binary for understanding social movements, focusing instead on how care work aligns with creative production. The Revolution Will Be Improvised returns to improvisation's roots in economic and social necessity and locates it as a core tenet of the aesthetics of obligation, where a commitment to others drives the production and result of creative work thus, this book puts forward a methodology to explore further the improvised, often ephemeral, works of art activism.

Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over "how to" make theater amid the political upheavals of China's 20th century. The book begins at a pivotal moment in the 1920s--when Chinese theater artists began to import, use, and write about modern stage equipment--and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th century envisioned and enacted their own revolutions through the materiality of the theater apparatus.

Born in Japan and trained in Germany, dancer and choreographer Ito Michio (1893-1961) achieved prominence in London before moving to the U.S. in 1916 and building a career as an internationally acclaimed artist. During World War II, Ito spent two years in the Japanese internment camps, later repatriating to Japan, where he contributed to imperial war efforts by creating propaganda performances and performing revues for the occupying Allied Forces in Tokyo. Throughout, Ito continually invented stories of voyages made, artists befriended, performances seen, and political activities carried out-stories later dismissed as false. Fantasies of Ito Michio argues that these invented stories, unrealized projects, and questionable political affiliations are as fundamental to Ito's career as his "real" activities, helping us understand how he sustained himself across experiences of racialization, imperialism, war, and internment. Tara Rodman reveals a narrative of Ito's life that foregrounds the fabricated and overlooked to highlight his involvement with Japanese artists, such as Yamada Kosaku and Ishii Baku, and global modernist movements. Rodman offers "fantasy" as a rubric for understanding how individuals such as Ito sustain themselves in periods of violent disruption and as a scholarly methodology for engaging the past.

Do you want to play a game? Incarceration Games reexamines the complex history and troubled legacy of improvised, interactive role-playing experiments. With particular attention to the notorious Stanford prison study, the author draws on extensive archival research and original interviews with many of those involved, to refocus attention on the in-game choices of the role-players themselves. Role-playing as we understand it today was initially developed in the 1930s as a therapeutic practice within the New York state penal system. This book excavates that history and traces the subsequent adoption of these methods for lab experimentation, during the postwar "stage production era" in American social psychology. It then examines the subsequent mutation of the Stanford experiment, in particular, into cultural myth--exploring the ways in which these distorted understandings have impacted on everything from reality TV formats to the "enhanced interrogation" of real-world terror suspects. Incarceration Games asks readers to reconsider what they thought they knew about this tangled history, and to look at it again from the role-player's perspective.

Geographies of Relation demonstrates how examining texts created throughout the Americas about diaspora and borderlands offers a lens to think about representations of race, ethnicity, and gender. Theresa Delgadillo crosses interdisciplinary and canonical borders to investigate the interrelationships of African-descended, Latinx and mestizx peoples through an analysis of Latin American, Latinx, and African American literature, film, and performance. Not only does Delgadillo offer a rare extended analysis of Black Latinidades in Chicanx literature and theory, but she also considers over a century's worth of literary, cinematic, and performative texts to support her argument about the significance of these cultural sites and overlaps. Chapters illuminate the significance of Toña La Negra in the Golden Age of Mexican cinema, reconsider feminist theorist's Gloria Anzaldúa offerings to revise exclusionary Latin American ideologies of mestizaje, unpack encounters between African Americans and Black Puerto Ricans in texts about twentieth-century New York, explore the expression of the African diaspora in colonial and contemporary Peru through literature and performance, and revisit the centrality of Black power in ending colonialism in various narratives. Thus, Geographies of Relation demonstrates the long histories of diaspora networks and exchanges across the Americas as well as the interrelationships among Indigenous, mestizx, Chicanx, and Latinx peoples. It offers a compelling argument that geographies of relation are as significant as national frameworks at structuring cultural formation and change in this hemisphere.

Listening to the Voices of the Dead is an account of the author's search for disquieted voices of the dead in the wake of the March 11, 2011, Tōhoku Disaster and his attempt to translate those voices for the living. Isomae Jun'ichi considers the disaster a challenge for outside observers to overcome, especially for practitioners of religion and religious studies. He chronicles the care and devotion for the dead shown by ordinary people, people displaced from their homes and loved ones. Drawing upon religious studies, Japanese history, postcolonial studies, and his own experiences during the disaster, Isomae uncovers historical symptoms brought to the surface by the traumas of disaster. Only by listening to the disquiet voices of the dead, translating them, and responding to them can we regain our true selves as well as offer peace to the spirits of the victims. While Listening to the Voices of the Dead focuses on this one event in Japanese history and memory, it captures a broadening critique at the heart of many movements responding to how increasing globalization impacts our sense of place and community.

Germany held a monopoly on the manufacture and export of bisque toy dolls in Europe before WWI. Yet, dolls' omnipresence in the material, visual, and literary culture of the modern German-speaking world has so far not been properly addressed. In demonstrating this cultural affinity for dolls, Christophe Koné draws upon a range of stories and seminal essays on dolls, as well as toys, sculptures, paintings, and photographs. He examines how E.T.A. Hoffmann's romantic tale The Sandman (1815) has been a major source of inspiration for German-speaking doll makers because of how it centers imagination and inventiveness. Using Hoffmann's tale as an early example of an amalgam between doll thinking and making in German culture, Koné shows how it initiated a genealogy of doll thinkers (Freud & Jentsch), writers (Rilke), painters (Kokoschka), photographers (Bellmer), and makers (Pritzel). Uncanny Creatures then explores how this unusual interest in human-like figures continues a long tradition of thought devoted to conceptualizing "things," from Immanuel Kant's theory of the thing-in-itself to Martin Heidegger's lecture on the thing, and Eduard Mörike or Rainer Maria Rilke's thing-poems. Because dolls occupy a liminal space--not quite things and more than mere objects--they appear as uncanny creatures which have held a fascination for writers, thinkers, and artists alike. Uncanny Creatures moves past the Freudian discourse of fetishism to propose a new reading of doll artifacts in German culture centered on their ability to evoke a feeling of uncertainty and unsettlement in the viewer.

Crying holds a privileged place in conversations around emotions as an expression of authentic feeling. And yet, tears are ambiguous: they might signal the most positive and negative of affects; they might present a sincere revelation of self or be simulated to manipulate others. Unsurprisingly, tears figure prominently on stage and on screen, where actors have experimented with the mechanics of making tears. Cue Tears: On the Act of Crying uses tears as a prism through which to see some of the foundational problems and paradoxes of acting and spectatorship anew, including matters of authenticity and sincerity, the ethics of the witness, the interaction between a speech act and its affective force, liveness and documentation. Across seven semi-autonomous essays, Cue Tears looks at the mechanisms of tear production, internal and external techniques that actors use to weep, and the effects of tears in performance situations on the stage, in the gallery, and in the classroom. The writing moves with a light touch between theory and criticism of a broad range of instances from literature, theater, performance art, visual art, and cinema, while also embracing a strong autobiographical and personal slant. Author Daniel Sack's father was a biochemist who studied tears and collected his son's tears for research during his childhood. These "reflex tears" were produced as a physical response to irritation--an eye stretched past the point of blinking, a cotton swab up the nose. This childhood occupation coincided with his first years taking acting classes, trying to learn how to cry "emotional tears" onstage through psychological stimulation and the recollection of memory. Cue Tears investigates these memories and methods, finding that tears both shore up and dissolve distinctions between truth and artifice, emotional and physical, private and public, sad and humorous.

The Greek Alexandrian poet C. P. Cavafy (1863-1933) has been recognized as a central figure in European modernism and world literature. His poetry explored the conditions for animating the past and making lost worlds or people haunt the present. Yet he also described himself as "a poet of the future generations." Indeed, his writings address concerns and desires that permeate the twentieth and twenty-first centuries. How does poetry concerned with the past, memory, loss, and death, carry futurity? Specters of Cavafy broaches these questions by proposing spectral poetics as a novel approach to Cavafy's work. Drawing from theorizations of specters and haunting, it develops spectrality as a lens for revisiting Cavafy's poetry and prose, fiction and nonfiction, as well as his poetry's bearing on our present. By examining Cavafy's spectral poetics, the book's first part shows how conjurations work in his writings, and how the spectral permeates the entanglement of modernity and haunting, and of irony and affect. The second part traces the afterlives of specific poems in the Western imagination since the 1990s, in Egypt's history of debt and colonization, and in Greece during the country's recent debt crisis. Beyond its original contribution to Cavafy studies, the book proposes tools and modes of reading that are broadly applicable in literary and cultural studies.

In addition to his work as visual artist, publisher, poet, and composer, Dick Higgins (1938-98) was also a genuine man of the theater. A founder of Fluxus, he was a major figure in artistic communities in downtown New York City, across Europe, and in Japan. Yet as important as Higgins's work has been to historians of the American avant-garde, relatively little attention has been paid to his radical theatrical vision. Anatomies of Theater brings together a broad selection of Higgins's writings and theater-related work, much of it unpublished or long out of print, including plays and performance scores, drawings, and writings on theater and performance. As this book demonstrates, Higgins deconstructed the drama long before it became a project of theater; undercut the traditional roles of author and director; created what is now considered "devised" theater; pioneered the use of media in theater, writing the first electronic opera; and was a precursor in deconstruction and "postdramatic" avant-garde traditions. His Intermedia manifesto offered a sweeping view of interdisciplinarity--in effect, a new arts ecology.

As India's power and prominence rise on the international stage, its longstanding tradition of democracy is under threat. Since establishing a secular and democratic constitution in 1950, India has held elections at the local, state, and national levels with frequent transitions of power between opposing parties. This commitment to democracy has provided political order to a country that is twice the size of Europe and with a stunning array of social and economic divides. Despite this rich tradition, India's democracy faces an unprecedented threat with the rise of Narendra Modi and his Hindu nationalist party, the Bharatiya Janata Party. After decisively winning general elections in 2014, Modi and the BJP have pursued a range of anti-democratic policies in which the state and society are used to undermine the opposition, to stifle free speech, and to harass religious minorities. The Troubling State of India's Democracy brings together leading scholars from around the world to assess the conditions of India's democracy across three important dimensions: politics, specifically the state of political parties and the party system; the state, including the condition of federalism and the health of various institutions; and society, including NGOs, ethnic and religious tensions, and control of the media. Even though elements of India's democracy seem to function--like its commitment to elections--the contributors document a disturbing trajectory, one that not only threatens to undermine India's own stability, but could also affect the global order.

Beyond the River, Under the Eye of Rome presents the Danube frontier of the Roman empire as the central stage for many of the most important political and military events of Roman history, from Trajan's invasion of Dacia and the Marcomannic Wars, to the humbling of the Roman state power at the hands of the Goths and Huns. Hart delves into the cultural and political impacts of Rome's interactions with Transdanubian peoples, emphasizing the Sarmatians of the Hungarian Plain, whose long encounter with the Roman Empire, he argues, created a problematic template for later dealings with Goths and Huns based on misapplied ethnographic and ecological tropes. Beyond the River, Under the Eye of Rome explores how Roman stereotypical perceptions of specific Danubian peoples directly influenced some of the most politically significant events of Roman antiquity. Drawing on textual, inscriptional, and archaeological evidence, Hart illustrates how Roman ethnic and ecological stereotypes were employed in the Danubian borderland to support the imperial frontier edifice fundamentally at odds with the region's natural topography. Distorted Roman perceptions of these Danubian neighbors resulted in disastrous mismanagement of border wars and migrant crises throughout the first five centuries CE. Beyond the River demonstrates how state-supported stereotypes, when coupled with Roman military and economic power, exerted strong influences on the social structures and evolving group identities of the peoples dwelling in the borderland.

Although a great deal is known about the recognition of states, less is known about the practice of derecognition of states, namely why and how states withdraw the recognition of other contested and partially recognized states. The Derecognition of States offers a global and comparative outlook of this unexplored diplomatic practice. Using original empirical research, it addresses the complex processes, justifications, and consequences of state derecognition. In particular, it provides unique insights into five aspirant states facing withdrawal of recognition: Taiwan, Western Sahara, Abkhazia, South Ossetia, and Kosovo. Gëzim Visoka argues that state derecognition is a highly controversial and unstable practice that has less to do with the unfulfillment of the conditions of statehood by the claimant than with the advancement of the self-interest of the former base state and derecognizing state. The derecognition of states is not a rule; rather, it is an exception in international diplomacy, driven by political expediency and is incompatible with original rationales for granting recognition. Yet, the derecognition of states is far more important than previously recognized in shaping the reversal dynamics of secession and state creation and in influencing regional peace, geopolitical rivalries, and the international order. By analyzing the withdrawal of recognition, the book offers a window into the reversal politics of unbecoming a sovereign state and how the arbitrary beginning and the end of diplomatic relations between states take place.

Over the last 25 years, South Korea has witnessed growing inequality due to the proliferation of non-standard employment, ballooning household debt, deepening export-dependency, and the growth of super-conglomerates such as Samsung and Hyundai. Combined with declining rates of economic growth and turbulent political events, these processes mark a departure from Korea's past recognition as a high growth "developmental state." The Postdevelopmental State radically reframes research into the South Korean economy by foregrounding the efforts of pro-democratic reformers and social movements in South Korea to create an alternative economic model--one that can address Korea's legacy of authoritarian economic development during the Cold War and neoliberal restructuring since the Asian Financial Crisis of the late 1990s. Understanding these attempts offers insight into the types of economic reforms that have been enacted since the late 1990s as well as the continued legacy of dictatorship-era politics within the Korean political and legal system. By examining the dilemmas economic democracy has encountered over the past 25 years, from the IMF Crisis to the aftermath of the Candlelight Revolution, the book reveals the enormous and comprehensive challenges involved in addressing the legacy of authoritarian economic models and their neoliberal transformations.

In Search of Admiration and Respect examines the institutionalization of Chinese cultural diplomacy in the period between high imperialism and the international ascendance of the People's Republic of China. During these years, Chinese intellectuals and officials tried to promote the idea of China's cultural refinement in an effort to combat negative perceptions of the nation. Yanqiu Zheng argues that, unlike similar projects by more established powers, Chinese cultural diplomacy in this era was not carried out solely by a functional government agency; rather, limited resources forced an uneasy collaboration between the New York-based China Institute and the Chinese Nationalist government. In Search of Admiration and Respect uses the Chinese case to underscore what Zheng calls "infrastructure of persuasion," in which American philanthropy, museums, exhibitions, and show business had disproportionate power in setting the agenda of unequal intercultural encounters. This volume also provides historical insights into China's ongoing quest for international recognition. Drawing upon diverse archival sources, Zheng expands the contours of cultural diplomacy beyond established powers and sheds light on the limited agency of peripheral nations in their self-representation.

What is going on when a graphic novel has a twelfth-century samurai pick up a telephone to make a call, or a play has an ancient aristocrat teaching in a present-day schoolroom? Rather than regarding such anachronisms as errors, Samurai with Telephones develops a theory of how texts can use different types of anachronisms to challenge or rewrite history, play with history, or open history up to new possibilities. By applying this theoretical framework of anachronism to several Japanese literary and cultural works, the book demonstrates how different texts can use anachronism to open up history for a wide variety of different textual projects. From the modern period, author Christopher Smith examines literature by Mori Ōgai and Ōe Kenzaburō, manga by Tezuka Osamu, art by Murakami Takashi, and a variety of other pop cultural works. Turning to the Early Modern period (Edo period, 1600-1868), which produced a literature rich with playful anachronism, he also examines several Kabuki and Bunraku plays, kibyōshi comic books, and gōkan illustrated novels. In analyzing these works, he draws a distinction between anachronisms that attempt to hide their work on history and convincingly rewrite it and those conspicuous anachronisms that highlight and disrupt the construction of historical narratives.

Teaching Difficult Topics provides a series of on-the-ground reflections from college music instructors working in a wide variety of institutional settings about their approaches to inclusive, supportive pedagogy in the music classroom. Although some imagine the music classroom to be an apolitical space, instructors find themselves increasingly in need of resources for incorporating issues of race and ethnicity, gender and sexuality, and historical trauma into their classrooms in ways that support student learning and safeguard their classroom communities. The teaching reflections in Teaching Difficult Topics examine difficult themes that fall into three primary categories: subjects that instructors sense to be controversial or emotionally challenging to discuss, those that derive from or intersect with real-world events that are difficult to process, and bigger-picture discussions of how music studies often focuses on dominant narratives while overlooking other perspectives. Some chapters offer practical guidance, lesson plans, and teaching materials to enable instructors to build discussions of race, gender, sexuality, and traumatic histories into their own classrooms; others take a more global view, reflecting on the importance and relevance of teaching these difficult topics and on how to respond in the music classroom when external events disrupt daily life.

In twelve essays, Contemporary Opera in Flux discusses a series of shifts that, taken together, have radically redefined the production and reception of opera. Focusing on productions involving late twentieth- and twenty-first century scores and libretti, the twelve contributors draw on conversations with members of creative teams and studies of archival material, dipping into a historical record that remains in flux as composers, librettists, directors, and designers revisit existing work and create anew. The contributors to this volume push the boundaries of contemporary opera scholarship by examining works that disrupt operatic conventions; tackle sociopolitical issues such as drug trafficking, racial injustice, and cultural trauma; and advance underrepresented works by female, African-American, Asian, and avant-garde composers around the globe. Contemporary Opera in Flux bridges the gaps between expanding literature on opera, theater, new music, postmodern dramaturgy, and posthuman aesthetics, while also confronting larger questions of identity, representation, and narrative agency that are at the forefront of contemporary music scholarship. This collection of essays engages critically with the past out of a conviction that, amid general public perceptions of opera as anachronistic or elitist, contemporary opera has emerged as an artistic incubator for experimentation.

Myths are not just the stories from the ancient Greeks and Romans--they represent deep truths from the essential concerns people face in their lives. Readers may already have heard of the Trojan Horse or how Oedipus married his own mother, but why have these stories lingered? In Classical Myth: An Introduction, Barry B. Powell provides the historical and theoretical background necessary for us to understand not only the concept of what a myth is, but the cultural context of how it emerged, and the different approaches to interpreting myth that were put forward by ancient theorists and their more recent successors. Then he helps readers to understand classical myth as it is found in its primary sources: the works of Homer and Hesiod, and the Greek tragedians and historians, Ovid and Vergil. By examining a number of prominent themes in classical myth, this textbook explores the relationship between myth and art, politics, society, and history of the ancient world. This completely revised second edition features new illustrations and will help readers who want to understand myths or study their original sources.

Blending archival work, ethnography, and cultural analysis with memoir, graphic arts, and science fiction, Queer Chimerica unpacks the ways in which the transnational circulation of queer culture, politics, and institutions are structured through the antagonist interdependence of China and the United States. By examining the intersecting timelines of the rise of queer theory and the rise of China in the late Cold War era, Shana Ye explores the relationship between the discourse of queer fluidity and capital's demands for labor flexibility. Drawing on rare archival material and oral historical accounts of queer life from the 1950s to the late 2010s, the author shows how these accounts make sense of the variegated landscapes of desires, transformations, and conundrums in postsocialist China. The author illustrates party cadres in the Cultural Revolution, tongzhi activism mediated by the explosive politics of Tiananmen upheaval, HIV/AIDS community outreach workers, feminist artists and digital activists, leftist queer theorists, and fictional bio-engineers, layering these vivid depictions to reveal the poetic messiness of queer world-making. QueerChimerica offers insight into the governmentality of LGBT rights, the rules of legibility and recognition, the geo- and bio-politics of identity, and the class-ridden appropriation of queer history and community. Thus understanding the production of queerness unveils the uneven distributions of capital, knowledge, affect, and opportunity that reproduce queer precarity and agency.

Learning to Love offers a range of perspectives on the embodied, relational, affective, and sociopolitical project of "learning to love" at the New Life Center for Holistic Growth, a popular "mind-body-spirit" bookstore and practice space in northeast China, in the early part of the 21st century. This intimate form of self-care exists alongside the fast-moving, growing capitalist society of contemporary China and has emerged as an understandable response to the pressures of Chinese industrialized life in the early 21st century. Opening with an investigation of the complex ways newcomers to the center suffered a sense of being "off," both in and with the world at multiple scales, Learning to Love then examines how new horizons of possibility are opened as people interact with one another as well as with a range of aesthetic objects at New Life. Author Sonya Pritzker draws upon the core concepts of scalar intimacy--a participatory, discursive process in which people position themselves in relation to others as well as dominant ideologies, concepts, and ideals--and scalar inquiry--the process through which speakers interrogate these forms, their relationship with them, and their participation in reproducing them. In demonstrating the collaborative interrogation of culture, history, and memory, she examines how these exercises in physical, mental, and spiritual self-care allow participants to grapple with past social harms and forms of injustice, how historical systems of power continue in the present, and how they might be transformed in the future. By examining the interactions and relational experiences from New Life, Learning to Love offers a range of novel theoretical interventions into political subjectivity, temporality, and intergenerational trauma/healing.

People with Down syndrome possess a culture. They are producers of culture. And in the 21st century, this culture is increasingly visible as a global phenomenon. Down Syndrome Culture examines Down syndrome alongside its social, cultural, and artistic representation. Author Benjamin Fraser draws upon neomaterialist and posthumanist approaches to disability as well as the work of disability theorists such as David Mitchell, Sharon Snyder, Susan Antebi, Tobin Siebers, and Stuart Murray. By particularly focusing on Down syndrome, he showcases the unique place that it holds as an intellectual and developmental disability--one that fits between the social and medical models of disability--within the disability studies field. Down Syndrome Culture also pushes the traditionally Anglophone borders of disability studies by examining examples in Spanish, Catalan, and Portuguese-language texts, and incorporating the work of thinkers in Iberian and Latin American studies. Through a close analysis of life writing, documentaries, and fiction films, the book emphasizes the central role of people with Down syndrome in contemporary cultural production. Chapters discuss the autobiography of Andy Trias Trueta, the social actors of the documentary Los niños [The Grown-Ups] (2016), dancers from Danza Mobile, and a variety of fiction films, challenging ableist understandings of disability in nuanced ways. Ultimately, this book reveals the lives, cultural work, and representations of people with trisomy 21 in an international context.

Rural cemeteries--named for their expansive, picturesque landscape design rather than location--were established during the middle decades of the nineteenth century in the United States. An instant cultural phenomenon, Mount Auburn Cemetery in Cambridge, Massachusetts, was the nation's first such burial ground to combine the functions of the public park and the cemetery, becoming a popular place to picnic and go for strolls even for people who didn't have graves to visit. It sparked a nationwide movement in which communities sought to establish their own cities of the dead. Pleasure Grounds of Death considers the history of the rural cemetery in the United States throughout the duration of the nineteenth century as not only a critical cultural institution embedded in the formation of community and national identities, but also as major sites of contest over matters of burial reform, taste and respectability, and public behavior; issues concerning race, class, and gender; conflicts over the burial of the Civil War dead and formation of postwar memory; and what constituted the most appropriate ways to structure the landscape of the dead in a modern and progressive society. As cultural landscapes that served the needs of the living as well as the dead, rural cemeteries offer a mirror for the transformations and conflicts taking place throughout the nineteenth century in American society.

Between HIV Prevention and LGBTI Rights investigates the transformative impacts of global development's sexual rights agenda on queer politics and activism in Ghana. With queer men bearing a disproportionate burden of HIV in Africa, rights-based health interventions have sought to tackle the epidemic by bringing together, educating, and 'empowering' queer African communities. Gore argues that queer Ghanaian men are not benefiting from development's turn to sexual health and sexual rights. Instead, HIV and other sexual rights-based initiatives operate through neoliberal paradigms that reinforce class divides and de-politicize queer struggle. These dynamics are further shaping and shaped by the politicization of homophobia within the contemporary Ghanaian state. Gore combines original ethnography, documentary analysis, and the examination of development and global health data to connect the struggle for queer liberation in Ghana to broader trajectories of capitalist transformation and crisis and the afterlives of colonialism. In doing so, Between HIV Prevention andLGBTI Rights offers fascinating insights into the political economy of sexuality and global development for scholars, activists, and policymakers seeking to understand and address sexual injustice and oppression, both in Africa and beyond.

No region in the world has been more hostile to democracy, more dominated by military and security institutions, or weaker on economic development and inclusive governance than the Middle East. Why have Arab states been so oppressively strong in some areas but so devastatingly weak in others? How do those patterns affect politics, economics, and society across the region? The state stands at the center of the analysis of politics in the Middle East, but has rarely been the primary focus of systematic theoretical analysis. Making Sense of the Arab State brings together top scholars from diverse theoretical orientations to address some of the most critically important questions facing the region today. The authors grapple with enduring questions such as the uneven development of state capacity, the failures of developmentalism and governance, the centrality of regime security and survival concerns, the excesses of surveillance and control, and the increasing personalization of power. Making Sense of the Arab State will be a must-read for scholars of the Middle East and of comparative politics more broadly.