A Simple power-packed guide that helps us take appropriate responsibility for our experience and establish healthy boundaries with others. Once your have read this book you will keep it in your briefcase or on your bedside table, referring to it often. You will not find a more practical, down to earth guide to contemporary spirituality. You will want to order copies for all your friends.
This groundbreaking collection of no-holds-barred writing from the pages of "Libido" magazine--"our favorite source of contemporary erotica" ("Playboy")--assembles 40 superb stories and poems that will satisfy both the body and the mind.
Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.
This intellectual biography of Hans Kohn (1891-1971) looks at theories of nationalism in the twentieth century as articulated through the life and work of its leading scholar and activist. Hans Kohn was born in late nineteenth-century Prague, but his peripatetic life took him from the Revolutionary-era Russia to interwar-era Palestine under the British Empire to the United States during the Cold War. Bearing witness to dramatic reconfigurations of national and political identities, he spearheaded an intellectual revolution that fundamentally challenged assumptions about the "naturalness" and the immutability of nationalism. Reconstructing Kohn's long and fascinating career, Gordon uncovers the multiple political and intellectual trends that intersected with and shaped his theories of nationalism. Throughout his life, Kohn was not simply a theorist but also a participant in multiple and often conflicting movements: Zionism and anti-Zionism, pacifism, liberalism, and military interventionism. His evolving theories thus drew from and reflected fierce debates about the nature of internationalism, imperialism, liberalism, collective security, and especially the Jewish Question. Kohn's scholarship was not an abstraction but a product of his lived experience as a Habsburg Jew, an erstwhile cultural Zionist, and an American Cold Warrior. As a product of the times, his concepts of nationalism reflected the changing world around him and evolved radically over his lifetime. His intellectual biography thus offers a panorama of the dynamic intellectual cornerstones of the twentieth century.
A cultural theory of the interface as a relation that is both ubiquitous and elusive, drawing on disciplines from cultural theory to architecture. In this book, Branden Hookway considers the interface not as technology but as a form of relationship with technology. The interface, Hookway proposes, is at once ubiquitous and hidden from view. It is both the bottleneck through which our relationship to technology must pass and a productive encounter embedded within the use of technology. It is a site of contestation—between human and machine, between the material and the social, between the political and the technological—that both defines and elides differences. A virtuoso in multiple disciplines, Hookway offers a theory of the interface that draws on cultural theory, political theory, philosophy, art, architecture, new media, and the history of science and technology. He argues that the theoretical mechanism of the interface offers a powerful approach to questions of the human relationship to technology. Hookway finds the origin of the term interface in nineteenth-century fluid dynamics and traces its migration to thermodynamics, information theory, and cybernetics. He discusses issues of subject formation, agency, power, and control, within contexts that include technology, politics, and the social role of games. He considers the technological augmentation of humans and the human-machine system, discussing notions of embodied intelligence. Hookway views the figure of the subject as both receiver and active producer in processes of subjectification. The interface, he argues, stands in a relation both alien and intimate, vertiginous and orienting to those who cross its threshold.
Facilitation and mediation are important skills in our highly organized world. Holding Change is a guide for attending to both in ways that align with nature, with pleasure, with our best imaginings of our future. It provides lessons for generating the ease necessary to move through life’s inevitable struggles and for practicing the art of holding others without losing ourselves. Black feminists have evolved this wisdom, but it can serve anyone working to create change, individually, interpersonally, and within our organizations. The majority of the book is sourced from brown’s twenty-plus years of facilitation and mediation work, with additional wisdom from a selection of living Black feminist facilitators and mediators.
The disturbing and intense films of Lars von Trier are often dismissed as misogynist, misanthropic, or anti-humanist. This book, however, invites us to engage with his work to found a new feminist vision and discover what might be distinctively hopeful for the future of our fragile human condition.
