This book is a collection of essays on tango by Veronica Toumanova written between October 2013 and December 2014.

What is tango? Dance, music, and lyrics of course, but also a philosophy, a strategy, a commodity, even a disease. This book explores the politics of tango, tracing tango's travels from the brothels of Buenos Aires to the cabarets of Paris and the shako dansu clubs of Tokyo. The author is an Argentinean political theorist and a dance professor at the University of California at Riverside. She uses her ?tango tongue? to tell interwoven tales of sexuality, gender, race, class, and national identity. Along the way she unravels relations between machismo and colonialism, postmodernism and patriarchy, exoticism and commodification. In the end she arrives at a discourse on decolonization as intellectual ?unlearning.?Marta Savigliano's voice is highly personal and political. Her account is at once about the exoticization of tango and about her own fate as a Third World woman intellectual. A few sentences from the preface are indicative: ?Tango is my womb and my tongue, a trench where I can shelter and resist the colonial invitations to '`'universalism,'? a stubborn fatalist mood when technocrats and theorists offer optimistic and seriously revised versions of '`'alternatives' for the Third World, an opportunistic metaphor to talk about myself and my stories as a success' of the civilization-development-colonization of Am ca Latina, and a strategy to figure out through the history of the tango a hooked-up story of people like myself. Tango is my changing, resourceful source of identity. And because I am where I am?outside?tango hurts and comforts me: '`'Tango is a sad thought that can be danced.'?Savigliano employs the tools of ethnography, history, body-movement analysis, and political economy. Well illustrated with drawings and photos dating back to the 1880s, this book is highly readable, entertaining, and provocative. It is sure to be recognized as an important contribution in the fields of cultural studies, performance studies, decolonization, and women-of-color feminism.

Despite existing for thousands of years, the field of ethics remains strongly influenced by several largely unquestioned assumptions and cognitive biases that can dramatically affect our priorities. The Tango of Ethics: Intuition, Rationality and the Prevention of Suffering proposes a deep, rigorous reassessment of how we think about ethics. Eschewing the traditional language of morality, it places a central emphasis on phenomenological experience and the unique urgency of suffering wherever it occurs, challenges our existence bias and examines the consequences of a metaphysically accurate understanding of personal identity. A key paradigm in The Tango of Ethics is the conflict and interplay between two fundamentally different ways of seeing and being in the world — that of the intuitive human being who wants to lead a meaningful life and thrive, and that of the detached, rational agent who wants to prevent unbearable suffering from occurring. Leighton aims to reconcile these two stances or motivations within a more holistic framework he labels 'xNU+' that places them at distinct ethical levels. This approach avoids some of the flaws of classical utilitarianism, including the notion that extreme suffering can be formally balanced out by enough bliss, while maintaining a focus on impact. He also identifies some of the limits of rationality and our dependence on intuitions to make ethical decisions. The book explores the implications of this way of thinking for real-world ethical dilemmas and how we might incorporate it into governance. With societal collapse, increasing totalitarianism and artificial general intelligence all very real threats in the coming years, Leighton argues that it is as important as ever to promote these ethics and their implementation while there is still an opportunity for some convergence around what matters.

Ursula Hackett's tried-and-tested approach for essay success helps students to create brilliant, original, high-scoring essays that are enjoyable to write – and read. With dozens of hands-on exercises and clear examples, Brilliant Essays begins with students' everyday experience of using language, arguing a case, reading, thinking, and communicating with other people. Chapters help students to examine – and dispel – assumptions, build and control their arguments and use evidence effectively, in written assignments and timed exams. The final chapter provides clear, no-nonsense answers to frequently asked questions raised by Ursula's students at Royal Holloway, University of London and the University of Oxford and via her YouTube channel and website. Whichever subject your students study, Brilliant Essays will take them beyond the basics and give them the tools to reach their academic potential.

Author of two books on Issac Albeniz, including Issac Albeniz: A Guide to Research (1998), Walter Aaron Clark has compiled thirteen essays that discuss the various aspects of Latin American music. The essays cover the social and political impact the music generated as well as the rhythmic development of the various genres. In this essential book, significant personalities, including Carmen Miranda, are discussed. The scope of the contributors is vast as divergent musical styles such as the Macarena dace craze, Bob Marley's reggae music and the seductive strains of the tango are analyzed.

• Are you looking for an Argentine Tango teacher? • Do you want to learn to dance tango? • Are you looking for a private tango lesson? • How to know who a good tango teacher is? • Do you want to become a tango teacher? Then you can read this book! NOTIFICATION: This is not a tango book, nor about how to learn the steps to dance tango in Buenos Aires. This is a book about people, human beings who embrace and relate in a very particular way in an "environment" with their own rules. In the Coach, I find a professional and appropriate figure to accompany us in learning this "language." I consider it appropriate to compare him with a gardener who knows about the weather, the seasons and irrigation techniques, among many other things. It is taken with seriousness and professionalism to prepare the ground to offer the seed the conditions that satisfy and accompany its development. He is a great observer and takes into account even the smallest details. However, he has confidence and believes in the potential that exists within the seed. He doesn't need to see what it has inside or check how much fruit it's going to produce... This mystery seems wonderful to me and is revealed little by little during the process of germination and growth. This essay is, on the one hand, for those who are "gardeners" by vocation, with whom I wish to seriously develop this activity. On the other hand, it's for those people who want to learn to dance the tango and have no idea where or who to start with. Through this path we can end up getting to know ourselves a little more. Be attentive! WARNING: By knowing the tango you are in serious risk of falling in love with the activity, its music and its people.

From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti

Traces the origins and evolution of the most enduring dance form of the twentieth century and examines the tango as a musical form, philosophy of life, art, and expression of Latin American culture.

Bringing together writers, translators, poets, and leading scholars of cultural theory, literary theory, comparative literature, philosophy, history, political science, music studies, and education, The Wounds of Possibility aims to offer an in-depth and wide-ranging study of George Steiner’s imposing body of work. This book is a timely volume of important essays on one of the most provocative thinkers, critics, and philosophers now writing. During an era in which the question of the ethical and of the status of the work of art, and its relation to the theological dimension, has returned with renewed urgency, Steiner’s work provides rich resources for reflection and it is hoped that the volume will stand on its own as a rich, nuanced accompaniment to the reading of Steiner’s work. With their broad range of thematic foci, theoretical approaches, and stunning constellations of quoted material from different backgrounds, all the essays in the book try to reflect upon the relation between human identity and language, ethics and literature, philosophy and art, and they all offer what we regard as being the most comprehensive engagement with Steiner’s work to date.

This collection showcases the latest innovations in research on the application of corpora and corpus-based methods in ESP/EAP writing instruction and the many ways in which corpora can be successfully and practically integrated in ESP/EAP programmes. While previous work has discussed the successful use of corpora in teaching writing in the areas of ESP/EAP, this book is the first of its kind to bring the most up-to-date research on the topic together in one place. The volume’s unique structure mirrors the key stages of the writing instruction process, from preparation to exploitation to analysis. The book begins by showing how corpora can be used to prepare materials, moving into an exploration of how students in ESP/EAP programmes use corpora in practice, before bringing the discussion full circle to the ways in which corpus-based approaches might be implemented to analyse ESP/EAP student writing. This approach presents readers with insights into how corpora can be effectively integrated into ESP/EAP writing instruction at every step of the process and opens the way for future areas of study. This book will be of particular interest to students and researchers in applied corpus linguistics, English for Specific Purposes, and English for Academic Purposes, as well as active practitioners in ESP/EAP writing instruction.