Seen and Unseen explores how visual mediums construct visual cultures that create limited perspectives of issues and groups, specific to this volume, the representation of Islam and Muslims. It deals with fixed and stereotypical visual representations and explores alternative and challenging representations that are reconstructing existing belief systems.
Seen and Unseen teases out and explores how visual mediums construct visual cultures that often create limited perspectives of certain issues and groups. This volume focuses in particular on the representation of Islam and Muslims. It deals with fixed and stereotypical visual representations and explores alternative and challenging visual representations that reconstruct and dismantle existing belief systems. It approaches the topic from a vantage point of diverse multiple perspectives. Covering issues from Brunei, Iran, Egypt, and England and cyberspace, the essays in this volume examine the visual cultures of how Islam and Muslims are understood, misunderstood, misrepresented, or even embraced visually. Scholars in this volume draw on historical paintings, books and their covers, photography, and news to demonstrate the diversity and sometimes contradictory visual cultures that construct and adhere meaning to how Islam and Muslim people are seen. Contributors: Hoda Afshar, Jared Ahmed, Syed Farid Alatas, Sanaz Fotouhi, Christiane Gruber, Layla Hendow, Raihana M.M., Bruno Starrs and Esmaeil Zeiny.
In many contemporary societies we encounter iconoclasm breaking out with renewed violence. Iconoclastic actions against objects of visual material culture and testimonials of history act as dynamite in the public sphere. They are expressions of political, religious, national, and identity conflicts. Even the freedom of art is threatened by censorship and cancel culture. Based on case studies from different world regions, contemporary iconoclasms in art, media, and cultural heritage are critically analyzed from both a global and an interdisciplinary perspective. Divided into three sections, the book discusses attacks on monuments and memorials, idol disputes in museums and the visual arts, and forms of mediated iconoclasm in contemporary art.
In the years since the September 11th 2001 attacks, the al-Qaeda phenomenon has become one of the most written about, yet crucially misunderstood, threats of the 21st century. But despite the sheer volume of literature produced during the ‘war on terror’ period, few studies have sought to consider the way this entity has been represented within the news media. The BBC, the War on Terror and the Discursive Construction of Al-Qaeda addresses this significant gap in knowledge by providing an original and much needed assessment of the various strategies used to depict ‘al-Qaeda’, and thus make it meaningful for British television audiences. Drawing on the work of French philosopher Michel Foucault, and focusing on Britain’s most watched and trusted news programme, the BBC’s flagship ‘News at Ten’ bulletin, the book provides insight into both the visual and verbal nature of these representations and the way they have shifted over the course of a ten-year period, while also shedding light upon the broader political and social consequences of the BBC’s portrayals. In doing so, the book not only helps to develop a deeper understanding of the complexity of the BBC’s representations, and their various shifts and transformations, but also details the process through which ‘al-Qaeda’ has been pieced together from a range of cultural parts. And how, ultimately, the dominant mode of representation used to portray this entity is one that closely resembles Britain’s own, diverse multicultural ‘self’.
"Art has not always had the same salience in philosophical discussions of ethics that many other elements of our lives have. There are well-defined areas of "applied ethics" corresponding to nature, business, health care, war, punishment, animals, and more, but there is no recognized research program in "applied ethics of the arts" or "art ethics." Art often seems to belong to its own sphere of value, separate from morality. The first questions we ask about art are usually not about its moral rightness or virtue, but about its beauty or originality. However, it is impossible to do any serious thinking about the arts without engaging in ethical questions"--
Using a cross-cultural perspective, The Everyday Makings of Heteronormativity: Cross-Cultural Explorations of Sex, Gender, and Sexuality examines the conceptual formulation of heteronormativity and highlights the mundane operations of its construction in diverse contexts. Heterosexual culture simultaneously institutionalizes its narrations and normalcies, operating in a way that preserves its own coherency. Heteronormativity gains its privileges and coherency through public operations and the mutuality of the public and private spheres. The contributors to this edited collection examine this coherency and privilege and explore in ethnographic detail the operations and making of heteronormative devices: material, affective, narrative, spatial, and bodily. This book is recommended for students and scholars of anthropology, sociology, and gender and sexuality studies.
In The Rest Write Back: Discourse and Decolonization, Esmaeil Zeiny brings together a collection of essays that interrogate the colonial legacies, the contemporary power structure and the geopolitics of knowledge production. The scholars in this collection illustrate how the writing-back paradigm engages in a conversation and paves the way for a “dialogical and pluri-versal” world where the Rest is no longer excluded. Among the important features of this book is that it presents ways for “decoloniality” and “epistemic disobedience.” This book will be of interest to scholars and students of all Social Science and Humanities disciplines but it is particularly important for those in the disciplines of sociology, postcolonial studies, cultural studies, literature, and theory and philosophy of Social Sciences and Humanities. Contributors include: Dustin J. Byrd, Ciarunji Chesaina, Hiba Ghanem, Mladjo Ivanovic, Masumi Hashimoto Odari, Arjuna Parakrama, JM. Persánch, Andrew Ridgeway, Rudolf J. Siebert, and Esmaeil Zeiny.
Oil, like other fossil fuels, permeates every aspect of human existence. Yet it has been largely ignored by cultural critics, especially in the context of the Global South. Seeking to make visible not only the pervasiveness of oil in society and culture but also its power, Oil Fictions stages a critical intervention that aligns with the broader goals of the energy humanities. Exploring literature and film about petroleum as a genre of world literature, Oil Fictions focuses on the ubiquity of oil as well as the cultural response to petroleum in postcolonial states. The chapters engage with African, South American, South Asian, Iranian, and transnational petrofictions and cover topics such as the relationship of colonialism to the fossil fuel economy, issues of gender in the Thermocene epoch, and discussions of migration, precarious labor, and the petro-diaspora. This unique exploration includes testimonies of the oil encounter—through memoirs, journals, and interviews—from a diverse geopolitical grid, ranging from the Permian Basin to the Persian Gulf. By engaging with non-Western literary responses to petroleum in a concentrated, sustained way, this pathbreaking book illuminates the transnational dimensions of the discourse on oil. It will appeal to scholars and students working in literature and science studies, energy humanities, ecocriticism, petrocriticism, environmental humanities, and Anthropocene studies. In addition to the editors, the contributors to this volume include Henry Obi Ajumeze, Rebecca Babcock, Ashley Dawson, Sharae Deckard, Scott DeVries, Kristen Figgins, Amitav Ghosh, Corbin Hiday, Helen Kapstein, Micheal Angelo Rumore, Simon Ryle, Sheena Stief, Imre Szeman, Maya Vinai, and Wendy W. Walters.
In the middle of the twentieth century, liberal intellectuals and policymakers in the United States came to see poverty as a global problem. Applying Progressive era and Depression insights about the causes of poverty to the post-World War II challenges posed by the Cold War and decolonization, they developed new ideas about why poverty persisted. The problem, they argued, was that the poor at home and abroad were alienated from the enormous opportunities industrial capitalism provided. Left unsolved, that problem, they believed, would threaten world peace. In The Poverty of the World, Sheyda Jahanbani brings together the histories of US foreign relations and domestic politics to explain why, during a period of unprecedented affluence, Americans rediscovered poverty and supported major policy initiative to combat it. Revisiting a moment of triumph for American liberals in the 1940s, Jahanbani shows how the US's newfound role as a global superpower prompted novel ideas among liberal thinkers about how to address poverty and generated new urgency for trying to do so. Their sense of responsibility about deploying American knowledge and wealth as a beneficent force in the world, produced such foreign aid programs as the Peace Corps. As Americans came to recognize the problem beyond the country's borders, they turned the idea of "underdevelopment" inward to explain poverty in urban neighborhoods and rural communities at home, inspiring Lyndon Johnson's War on Poverty and his domestic peace corps, Volunteers in Service to America (VISTA). Drawing on a wide variety of archival material, Jahanbani reinterprets the lives and work of prominent liberal figures in postwar American social politics, from Oscar Lewis to John Kenneth Galbraith, Michael Harrington to Sargent Shriver, to show the global origins of their ideas. By tracing how American liberals invented the problem of "global poverty" and executed a war against it, The Poverty of the World sheds new light on the domestic impacts of the Cold War, the global ambitions of American liberalism, and the way in which key intellectuals and policymakers worked to develop an alternative vision of US empire in the decades after World War II.
In Frantz Fanon and Emancipatory Social Theory: A View from the Wretched, Dustin J. Byrd and Seyed Javad Miri bring together a collection of essays by a variety of scholars who explore the lasting influence of Frantz Fanon, psychiatrist, revolutionary, and social theorist. Fanon’s work not only gave voice to the “wretched” in the Algerian War of Independence (1954-1962), but also shaped the radical resistance to colonialism, empire, and racism throughout much of the world. His seminal works, such as Black Skin, White Masks, and The Wretched of the Earth, were read by The Black Panther Party in the United States, anti-imperialists in Africa and Asia, and anti-monarchist revolutionaries in the Middle East. Today, many revolutionaries and scholars have returned to Fanon’s work, as it continues to shed light on the nature of colonial domination, racism, and class oppression. Contributors include: Syed Farid Alatas, Rose Brewer, Dustin J. Byrd, Sean Chabot, Richard Curtis, Nigel C. Gibson, Ali Harfouch, Timothy Kerswell, Seyed Javad Miri, Mumia Abu-Jamal, Pramod K. Nayar, Elena Flores Ruíz, Majid Sharifi, Mohamed Imran Mohamed Taib and Esmaeil Zeiny.
