Revolution Beyond the Event brings together leading international anthropologists alongside emerging scholars to examine revolutionary legacies from the MENA region, Latin America and the Caribbean. It explores the idea that revolutions have varied afterlives that complicate the assumptions about their duration, pace and progression, and argues that a renewed focus on the temporality of radical politics is essential to our understanding of revolution. Approaching revolution through its relationship to time, the book is a critical intervention into attempts to define revolutions as bounded events that act as sequential transitions from one political system to another. It pursues an ethnographically driven rethinking of the temporal horizons that are at stake in revolutionary processes, arguing that linear views of revolution are inextricably tied to notions of progress and modernity. Through a careful selection of case studies, the book provides a critical perspective on the lived realities of revolutionary afterlives, challenging the liberal humanist assumptions implicit in the ‘modern’ idea of revolution, and reappraising the political agency of people caught up in revolutionary situations across a variety of ethnographic contexts.

Revolutions: Finished and Unfinished, From Primal to Final is an important philosophical contribution to the study of revolution. It not only makes new contributions to the study of particular revolutions, but to developing a philosophy of revolution itself. Many of the contributors have been inspired by the philosophical approaches of Eric Voegelin or Eugen Rosenstock-Huessy, and the tension between these two social philosophies adds to the philosophical uniqueness and richness of the work.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them

This thought-provoking work analyzes concrete political events and reinterprets key concepts in modern political science. Building on the works of Kant, Badiou, Adorno, Hegel, and more, it posits that the dynamics of revolution can be encapsulated in the concept of negation, since a revolution essentially negates "what is" by rejecting the power in place. The work argues that revolution is the true ground of Western democracy and that the proof of a true democracy is the activity of protest movements. It discusses how modern philosophy conceives political truth as revolutionary or eventful, and that one aspect of revolution is negativity, which fluctuates between inertia and melancholia. It examines the problem of revolution in the context of modern philosophy, providing a diagnosis of the historical developments since the fall of the Soviet Union to the Arab Spring, setting forth an original theory of revolution while shedding light on the notion of negativity in contemporary thought. This innovative work will appeal to anyone interested in political theory and political philosophy.

Warfare on three continents, empire building, and revolution—political, agricultural, and industrial—dominate 18th-century world history. In Europe royal dynasties formed, fought major wars that carved up the map of Europe and the Americas, and began the great colonial expansion that dominated the next century. But the 18th century also ushered in the Enlightenment, which fired the imagination of Europeans, and the Industrial and Agricultural Revolutions, which changed society and work forever. To help students better understand the major developments of the 18th century and their impact on 19th- and 20th-century history, this unique resource offers detailed description and expert analysis of the 18th century's most important events: Peter the Great's Reform of Russia; the War of the Spanish Succession; the First British Empire; the War of the Austrian Succession and the Seven Years' War; the Enlightenment; the Agricultural Revolution; the American Revolution; the Industrial Revolution; the Slave Trade; and the French Revolution. Each of the ten events is dealt with in a separate chapter. Designed for students, this unique format features an introductory essay that presents the facts, followed by an interpretive essay that places the event in a broader context and promotes student analysis. The introductory essay provides factual material about the event in a clear, concise, and chronological manner that makes complex history understandable. The interpretive essay, written by a recognized authority in the field in a style designed to appeal to general readership, explores the short-term and far-reaching ramifications of the event. An annotated bibliography identifies the most important recent scholarship about each event. A full-page illustration complements the narrative for each event. Three useful appendices include: a glossary of names, events, and terms; a timeline of important events in 18th-century world history; and a listing of ruling houses and dynasties of 18th-century Europe. This work is an ideal addition to the high school, community college, and undergraduate reference shelf, as well as excellent supplementary reading for social studies and world history courses.

2022 Winner of the Palestine Book Awards Rooted in feminist ethnography and decolonial feminist theory, this book explores the subjectivity of Palestinian hunger strikers in Israeli prisons, as shaped by resistance. Ashjan Ajour examines how these prisoners use their bodies in anti-colonial resistance; what determines this mode of radical struggle; the meanings they ascribe to their actions; and how they constitute their subjectivity while undergoing extreme bodily pain and starvation. These hunger strikes, which embody decolonisation and liberation politics, frame the post-Oslo period in the wake of the decline of the national struggle against settler-colonialism and the fragmentation of the Palestinian movement. Providing narrative and analytical insights into embodied resistance and tracing the formation of revolutionary subjectivity, the book sheds light on the participants’ views of the hunger strike, as they move beyond customary understandings of the political into the realm of the ‘spiritualisation’ of struggle. Drawing on Foucault’s conception of the technologies of the self, Fanon’s writings on anti-colonial violence, and Badiou’s militant philosophy, Ajour problematises these concepts from the vantage point of the Palestinian hunger strike.

From television to travel bans, geopolitics to popular dance, The Subject of Revolution explores how knowledge about the 1959 Cuban Revolution was produced and how the Revolution in turn shaped new worldviews. Drawing on sources from over twenty archives as well as film, music, theater, and material culture, this book traces the consolidation of the Revolution over two decades in the interface between political and popular culture. The "subject of Revolution," it proposes, should be understood as the evolving synthesis of the imaginaries constructed by its many "subjects," including revolutionary leaders, activists, academics, and ordinary people within and beyond the island's borders. The book reopens some of the questions that have long animated debates about Cuba, from the relationship between populace and leadership to the archive and its limits, while foregrounding the construction of popular understandings. It argues that the politicization of everyday life was an inescapable effect of the revolutionary process as well as the catalyst for new ways of knowing and being.

Writing the Materialities of the Past offers a close analysis of how the materiality of the built environment has been repressed in historical thinking since the 1950s. Author Sam Griffiths argues that the social theory of cities in this period was characterised by the dominance of socio-economic and linguistic-cultural models, which served to impede our understanding of time-space relationality towards historical events and their narration. The book engages with studies of historical writing to discuss materiality in the built environment as a form of literary practice to express marginalised dimensions of social experience in a range of historical contexts. It then moves on to reflect on England’s nineteenth-century industrialization from an architectural topographical perspective, challenging theories of space and architecture to examine the complex role of industrial cities in mediating social changes in the practice of everyday life. By demonstrating how the authenticity of historical accounts rests on materially emplaced narratives, Griffiths makes the case for the emancipatory possibilities of historical writing. He calls for a re-evaluation of historical epistemology as a primarily socio-scientific or literary enquiry and instead proposes a specifically architectural time-space figuration of historical events to rethink and refresh the relationship of the urban past to its present and future. Written for postgraduate students, researchers and academics in architectural theory and urban studies, Griffiths draws on the space syntax tradition of research to explore how contingencies of movement and encounter construct the historical imagination.

Are traditions of popular theatre still alive in politically-engaged theatre today? In San Francisco they are. The San Francisco Mime Troupe is a modern link in the long history of public performances that have a merry air but have a voice of political protest and social comment. Every summer since 1962 the Troupe has taken free outdoor performances to public parks in the Bay Area. In a style that is festive and a spirit that is revolutionary the Mime Troupe has relied on popular theatre forms to address timely political and social issues. Their productions maintain a contemporary political edge, while showing their origins to be the popular traditions of the commedia dell'arte, circus clowning, vaudeville, puppetry, and minstrel shows. With The Minstrel Show or Civil Rights in a Cracker Barrel (1965) they expressed support of the civil rights movement. With L'Amant Militaire (1967) they voiced support of Vietnam War protests. To discover what makes these apparently frivolous theatrical traditions effective for contemporary political theatre, Festive Revolutions explores the historical origins of the popular forms the Mime Troupe draws on. In old Europe, where performance traditions began, political turmoil blended with festive celebration. The lineage of the Mime Troupe's Punch the Red can be traced back to the Italian puppet figure Pulcinella through its English and Russian counterparts Punch and Petrushka. In the Mime Troupe the use of stereotypes and reliance upon colorful festivity are diverse strategies for dodging censorship. Productions like Ripped Van Winkle continue today to rekindle the radicalism the Troupe inherited from the culture of the 1960s. Festive Revolutions shows that such forms have inspired political theatre for centuries.