Was modern primitivism complicit with the ideologies of colonialism, or was it a multivalent encounter with difference? Examining race and modernism through a wider and more historically contextualized study, Sweeney brings together a variety of published and new scholarship to expand the discussion on the links between modernism and primitivism. Tracing the path from Dada and Surrealism to Josephine Baker and Nancy Cunard's Negro: An Anthology, she shows the development of négrophilie from the interest in black cultural forms in the early 1920s to a more serious engagement with difference and representations in the 1930s. Considering modernism, race, and colonialism simultaneously, this work breaks from traditional boundaries of disciplines or geographic areas. Why was the primitive so popular in this era? Sweeney shows how high, popular, and mass cultural contexts constructed primitivism and how black diasporic groups in Paris challenged this construction. Included is research from original archival material from black diasporic publications in Paris, examining their challenges to primitivism in French literature and state-sponsored exoticism. The transatlantic movement of modernism and primitivism also is part of this broad comparative study.

Coming from a strong gender critical and post-colonial theoretical stance, Runions takes up important questions of the reading process that arise from literary, ideological critical and cultural studies approaches to the Bible. She examines readers' negotiations with the ambiguous configurations of gender, nation and future vision in the book of Micah, using the theoretical work of Homi Bhabha with Louis Althusser, Jacques Lacan, Slavoj Zizek-all key figures in cultural studies. Her book confronts the problem of the determined subject reading an indeterminate text and suggests that (liminal) identifications with the ambiguitiesof the book of Micah might reconfigure the readers' own ideological positions.

Democracy is in shambles economically and politically. The recent economic meltdown in Europe and the U.S. has substituted democratic deliberation with technocratic decisions. In Athens, Madrid, Lisbon, New York, Pittsburgh or Istanbul, protesters have denounced the incapacity and unwillingness of elected officials to heed to their voices. While the diagnosis of our political-economic illness has been established, remedies are hard to come. What can we do to restore our broken democracy? Which modes of political participation are likely to have an impact? And what are the loci of political innovation in the wake of the crisis? It is with these questions that Reclaiming Democracy engages. We argue that the managerial approach to solving the crisis violates ‘a right to politics’, that is, a right that our collective life be guided by meaningful politics: by discussion of and decision among genuinely alternative principles and policies. The contributors to this volume are united in their commitment to explore how and where this right can be affirmed in a way that resuscitates democracy in the wake of the crisis. Mixing theoretical reflection and empirical analysis the book offers fresh insights into democracy’s current conundrum and makes concrete proposals about how ‘the right to politics’ can be protected.

Exploring the modern category of history in relation to film theory, film textuality, and film history, Change Mummified makes a persuasive argument for the centrality of historicity to film as well as the special importance of film in historical culture. What do we make of the concern for recovering the past that is consistently manifested in so many influential modes of cinema, from Hollywood to documentary and postcolonial film? How is film related to the many modern practices that define themselves as configuring pastness in the present, such as architectural preservation, theme parks, and, above all, professional historical research? What is the relation of history in film to other media such as television and digital imaging? How does emphasizing the connection between film and modern historicity affect the theorization and historicization of film and modern media culture? Pursuing the full implications of film as cultural production, Philip Rosen reconceptualizes modern historicity as a combination of characteristic epistemological structures on the one hand, and the social imperative to regulate or manage time on the other. Emphasizing a fundamental constellation of pursuit of the real, indexical signification and the need to control time, he interrogates a spectrum of film theory and film texts. His argument refocuses the category of temporality for film and cultural theory while rethinking the importance of historicity. An original and sustained meditation on the historiographic status of cinematic signs, Change Mummified is both an intervention in film and media studies and an argument for the continuing necessity of modern historical thinking in its contradictions.

Object fetishism is becoming a more and more pervasive phenomenon. Focusing on literature and the visual arts, including cinema, this book suggests a parallelism between fetishism and artistic creativity, based on a poetics of detail, which has been brilliantly exemplified by Flaubert's style. After exploring canonical accounts of fetishism (Marx, Freud, Benjamin), by combining a historicist approach with theoretical speculation, Massimo Fusillo identifies a few interpretive patterns of object fetishism, such as seduction (from Apollonius of Rhodes to Max Ophüls), memory activation (from Goethe to Louise Bourgeois and Pamuk), and the topos of the animation of the inanimate. Whereas all these patterns are characterized by a projection of emotional values onto objects, modernism highlights a more latent component of object fetishism: the fascination with the alterity of matter, variously inflected by Proust, Woolf, Joyce, Barnes, and Mann. The last turning point in Fusillo's analysis is postmodernism and its obsession with mass media icons-from DeLillo's maximalist frescos and Zadie Smith's reflections on autographs to Palahniuk's porn objects; from pop art to commodity sculpture.

Cyberfiction: After the Future explores a world where cybernetics sets the terms for life and culture - our world of ubiquitous info-tech, instantaneous capital flows, and immanent catastrophe. Economics fuses with technology to create a new kind of speculative fiction: cyberfiction. Paul Youngquist reveals the ways in which J. G. Ballard, Philip K. Dick, Samuel Delany, Octavia Butler, and William Gibson, among others, map a territory where information reigns supreme and the future is becoming a thing of the past.

Characterizing Olaudah Equiano's eighteenth-century narrative of his life as a type of "scriptural story" that connects the Bible with identity formation, Vincent L. Wimbush's White Men's Magic probes not only how the Bible and its reading played a crucial role in the first colonial contacts between black and white persons in the North Atlantic but also the process and meaning of what he terms "scripturalization." By this term, Wimbush means a social-psychological-political discursive structure or "semiosphere" that creates a reality and organizes a society in terms of relations and communications. Because it is based on the particularities of Equiano's narrative, Wimbush's theoretical work is not only grounded but inductive, and shows that scripturalization is bigger than either the historical or the literary Equiano. Scripturalization was not invented by Equiano, he says, but it is not quite the same after Equiano.

How has psychoanalysis developed in France in the years since Lacan so dramatically polarized the field? In this book, Dana Birksted-Breen and Sara Flanders of the British Psychoanalytical Society, and Alain Gibeault of the Paris Psychoanalytical Society provide an overview of how French psychoanalysis has developed since Lacan. Focusing primarily on the work of psychoanalysts from the French Psychoanalytical Association and from the Paris Psychoanalytical Society, the two British psychoanalysts view the evolution of theory as it appears to them from the outside, while the French psychoanalyst explains and elaborates from inside the French psychoanalytic discourse. Seminal and representative papers have been chosen to illuminate what is special about French thinking. A substantial general introduction argues in favour of the specificity of 'French psychoanalysis', tracing its early influences and highlighting specific contemporary developments. Sections are made up of introductory material by Alain Gibeault, followed by illustrative papers in the following categories: the history of psychoanalysis in France the pioneers and their legacy the setting and the process of psychoanalysis phantasy and representation the body and the drives masculine and feminine sexuality psychosis. An excellent introduction to French psychoanalytical debate, Reading French Psychoanalysis sheds a complementary light on thinking that has evolved differently in England and North America. It will be ideal reading for beginners and advanced students of clinical theory as well as experienced psychoanalysts wanting to know more about French Psychoanalytic theory, and how it has developed.

Best known as the story from the 1904 Puccini opera, the compelling modern myth of Madame Butterfly has been read, watched, and re-interpreted for many years. This volume examines the Madame Butterfly narrative in a variety of cultural contexts - literary, musical, theatrical, cinematic, historical, and political.

Probes the relationship between the conditions of colonial "modernization" and the methods of anthropological knowledge