The rise of performance art as chronicled by renowned critic Sally Banes. Her approach to the complex matrix of art, community, and culture draws on histories and theories of painting, photography, dance, theater, and folklore. Her vivid descriptions and provocative interpretations fill a gap in the history of contemporary performance--where the avant-garde met the mainstream.
Walter Brueggemann has been one of the leading voices in Hebrew Bible interpretation for decades; his landmark works in Old Testament theology have inspired and informed a generation of students, scholars, and preachers. Those who serve as truth-tellers in the church, like those who listen to the truth-telling in the church, are a mix of yearning and fearfulness, of receptiveness and collusion. In the end, the work of truth-telling is not to offer a new package of certitudes that displaces old certitudes. This truth to be uttered and acted, rather, is the enactment and conveyance of this Person who is truth, so that truth comes as bodily fidelity that stays reliably present to the pain of the world.
A Choice Outstanding Academic Title 2016 Satire has been used in ceramic production for centuries. Historically, it occurred as a slogan or proverb written into the ceramic surface; as pictorial surface imagery; or as a satirical figurine. The use of satire in contemporary ceramics is a rapidly evolving trend, with many artists subverting or otherwise rethinking familiar historic forms to make a political point. Claudia Clare examines the relationship between ceramics, social politics, and political movements and the way both organisations and individual artists have used pots - predominantly domestic objects - to agitate among the masses or simply express their ideas. Ninety colour illustrations of various subversive, satirical and campaigning works illustrate her arguments and enliven debate. Claudia Clare explores work by artists from twenty-one different countries, from 500 BC to the present day. These range range from the French artist Honoré Daumier and the enslaved African-American potter David Drake to contemporary artists including Lubaina Himid, Virgil Ortiz and Shlomit Bauman, whose work and the means of its production has addressed or commented upon issues such as disputed homelands, identify, race, gender and colonialism.
In Subversive Spirituality Peterson has gathered together a host of writings penned over the past twenty-five years that reflect on the overlooked facets of the spiritual life. Comprising occasional pieces, short biblical studies, poetry, pastoral readings, and interviews, this work captures the epiphanies of life with the pleasing pastoral style and inspiring depth of insight for which Peterson is well known. Peterson describes his book this way: "This gathering of articles and essays, poems and conversations, is a kind of kitchen midden of my noticings of the obvious in the course of living out the Christian life in the vocational context of pastor, writer, and professor. The randomness and repetitions and false starts are rough edges that I am leaving as is in the interests of honesty. Spirituality is not, by and large, smooth. I do hope, however, that these pieces will be found to be freshly phrased".
Requiring no more than basic arithmetic, this book provides a careful and accessible introduction to the basic pillars of Game Theory, tracing its intellectual origins and philosophical premises.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
This volume is a collection of some of the best and most influential work of Yanis Varoufakis. The chapters all address the issue of economic indeterminacy, and the place of a socialized Homo Economicus within the economy. The book addresses Varoufakis’ key interpretation regarding the way in which neoclassical economics deals with the twin problems of complexity and indeterminacy. He argues that all neoclassical modelling revolves around three meta-axioms: Methodological individualism, Methodological instrumentalism and the Methodological Imposition of Equilibrium. Each chapter is preceded by an introduction, which explains its place within the overarching theme of the book. The volume also includes a lengthy introduction, plus a concluding chapter focusing on the future of economics. It will be a key work for all students and researchers in the field of political economy and economic methodology.
In an age when everyone aspires to teach critical thinking skills in the classroom, what does it mean to be a subversive law teacher? Who or what might a subversive law teacher seek to subvert – the authority of the law, the university, their own authority as teachers, perhaps? Are law students ripe for subversion, agents of, or impediments to, subversion? Do they learn to ask critical questions? Responding to the provocation in the classic book Teaching as a Subversive Activity, by Postman and Weingartner, the idea that teaching could, or even should, be subversive still holds true today, and its premise is particularly relevant in the context of legal education. We therefore draw on this classic book to discuss, in the present volume, the consideration of research into legal education as lifetime learning, as creating meaning, as transformative and as developing world-changing thinking within the legal context. The volume offers research into classroom experiences and theoretical and historical interrogations of what it means to teach law subversively. Primarily aimed at legal educators and doctoral students in law planning careers as academics, its insights speak directly to tensions in higher education more broadly.
A groundbreaking look at the transformation of SoHo. American cities entered a new phase when, beginning in the 1950s, artists and developers looked upon a decaying industrial zone in Lower Manhattan and saw, not blight, but opportunity: cheap rents, lax regulation, and wide open spaces. Thus, SoHo was born. From 1960 to 1980, residents transformed the industrial neighborhood into an artist district, creating the conditions under which it evolved into an upper-income, gentrified area. Introducing the idea—still potent in city planning today—that art could be harnessed to drive municipal prosperity, SoHo was the forerunner of gentrified districts in cities nationwide, spawning the notion of the creative class. In The Lofts of SoHo, Aaron Shkuda studies the transition of the district from industrial space to artists’ enclave to affluent residential area, focusing on the legacy of urban renewal in and around SoHo and the growth of artist-led redevelopment. Shkuda explores conflicts between residents and property owners and analyzes the city’s embrace of the once-illegal loft conversion as an urban development strategy. As Shkuda explains, artists eventually lost control of SoHo’s development, but over several decades they nonetheless forced scholars, policymakers, and the general public to take them seriously as critical actors in the twentieth-century American city.
