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Mobile money, e-commerce, cash cards, retail credit cards, and more—as new monetary technologies become increasingly available, the global South has cautiously embraced these mediums as a potential solution to the issue of financial inclusion. How, if at all, do new forms of dematerialized money impact people’s everyday financial lives? In what way do technologies interact with financial repertoires and other socio-cultural institutions? How do these technologies of financial inclusion shape the global politics and geographies of difference and inequality? These questions are at the heart of Money at the Margins, a groundbreaking exploration of the uses and socio-cultural impact of new forms of money and financial services.
Sounding the Margins: Collected Writings 1992-2009 by composer, performer, humanitarian, and Deep Listening founder Pauline Oliveros document her activity over this period and the many recent advances that have taken place in the fields of electronic and telematic musical performance, improvisation, artificial intelligence, and the role of women in contemporary music. Featuring contributions by John Luther Adams, Monique Buzzarte, and Stuart Dempster.
These essays challenge the positivist, patriarchal assumptions of earlier approaches to textual criticism.
The death of Edmond Jabès in January 1991 silenced one of the most compelling voices of the postmodern, post-Holocaust era. Jabès's importance as a thinker, philosopher, and Jewish theologian cannot be overestimated, and his enigmatic style—combining aphorism, fictional dialogue, prose meditation, poetry, and other forms—holds special appeal for postmodern sensibilities. In The Book of Margins, his most critical as well as most accessible book, Jabès is again concerned with the questions that inform all of his work: the nature of writing, of silence, of God and the Book. Jabès considers the work of several of his contemporaries, including Georges Bataille, Maurice Blanchot, Roger Caillois, Paul Celan, Jacques Derrida, Michel Leiris, Emmanuel Lévinas, Pier Paolo Pasolini, and his translator, Rosmarie Waldrop. This book will be important reading for students of Jewish literature, French literature, and literature of the modern and postmodern ages. Born in Cairo in 1912, Edmond Jabès lived in France from 1956 until his death in 1991. His extensively translated and widely honored works include The Book of Questions and The Book of Shares. Both of these were translated into English by Rosmarie Waldrop, who is also a poet. Religion and Postmodernism series
Examines commentary written in the margins of the text to show how the pages of the first printed books became the arena for struggled among authors, readers, and cultural authorities. Focuses on four controversies: the printed English Bible, two rivals for court favor, Martin Marprelate's theological pamphlets, and the glossed works of Ben Jonson. Annotation copyright by Book News, Inc., Portland, OR
DIVState-of-the-art volume by the major voices in historical anthropology./div
Between the advent of print advertising and the dawn of radio came cinema ads. These ads, aimed at a captive theater audience, became a symbol of the developing binary between upper-class film consumption and more consumerist media. In Profit Margins, Jeremy Groskopf examines how the ad industry jockeyed for direct advertisement space in American motion pictures. In fact, advertisers, who recognized the import of film audiences, fought exhibitors over what audiences expected in a theater outing. Looking back at these debates in four case studies, Groskopf reveals that advertising became a marker of class distinctions in the cinema experience as the film industry pushed out advertisers in order to create a space free of ads. By restricting advertising, especially during the rise of high-class, palatial theaters, the film industry continued its ongoing effort to ascend the cultural hierarchy of the arts. An important read for film studies and the history of marketing, Profit Margins exposes the fascinating truth surrounding the invention of cinema advertising techniques and the resulting rhetoric of class division.
What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.
Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname.