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A bold and impassioned meditation on injustice in our country that punctures the illusion of a postracial America and reveals it as a place where authoritarianism looms large. Whether the issues are protest, labor, patriotism, or class division, it is clear that professional sports are no longer simply fun and games. Rather, the industry is a hotbed of fractures and inequities that reflect and even drive some of the most divisive issues in our country. The nine provocative and deeply personal essays in Full Dissidence confront the dangerous narratives that are shaping the current dialogue in sports and mainstream culture. The book is a reflection on a culture where African Americans continue to navigate the sharp edges of whiteness—as citizens who are always at risk of being told, often directly from the White House, to go back to where they came from. The topics Howard Bryant takes on include the player-owner relationship, the militarization of sports, the myth of integration, the erasure of black identity as a condition of success, and the kleptocracy that has forced America to ask itself if its beliefs of freedom and democracy are more than just words. In a time when authoritarianism is creeping into our lives and is being embraced in our politics, Full Dissidence will make us question the strength of the bonds we think we have with our fellow citizens, and it shows us why we must break from the malignant behaviors that have become normalized in everyday life.
"In addition to the huge list of written sources from samizdat works to recent essays, Falk's sources include interviews with many personalities of those events as well as videos and films."--Jacket.
How the valorization of artistic and political dissidence has contributed to the rise of Chinese contemporary art in the West. Interest in Chinese contemporary art increased dramatically in the West shortly after the 1989 Tiananmen Square protests. Sparked by political sympathy and the mediatized response to the event, Western curators, critics, and art historians were quick to view the new art as an expression of dissident resistance to the Chinese regime. In this book, Marie Leduc proposes that this attribution of political dissidence is not only the result of latent Cold War perceptions about China, but also indicative of the art world's demand for artistically and politically provocative work—a demand that mirrors the valorization of free expression in liberal democracies. Focusing on nine Chinese artists—Wang Du, Wang Keping, Huang Yong Ping, Yang Jiechang, Chen Zhen, Yan Pei-Ming, Shen Yuan, Ru Xiaofan, and Du Zhenjun—who migrated to Paris in and around 1989, Leduc explores how their work was recognized before and after the Tiananmen Square incident. Drawing on personal interviews with the artists and curators, and through an analysis of important exhibitions, events, reviews, and curatorial texts, she demonstrates how these and other Chinese artists have been celebrated both for their artistic dissidence—their formal innovations and introduction of new media and concepts—and for their political dissidence—how their work challenges political values in both China and the West. As Leduc concludes, the rise of Chinese contemporary art in the West highlights the significance of artistic and political dissidence in the production of contemporary art, and the often-unrecognized relationship between contemporary art and liberal democracy.
Returning to the early modern period, this study questions and develops issues of post-modernity. It shows how literature histories and sub-cultures of sexual and gender dissidence may be relevant to current debates and discusses topics ranging from homophobia to transgression and its containment.
Recent critical and historical work on the late-Victorian period has furnished a vocabulary for discussing gender and sexuality. These popular terms include categories such as homo/hetero, patriarchal/feminist, and masculine/effeminate. This collection exploits this framework—while refining and resisting it in places—to show how certain Victorians imagined difference in ways that continue to challenge us today. One essay, for example, traces the remarkable feminist appropriation of male-identified fields of study, such as Classical philology. Others address the validation of male bodies as objects of desire in writing, painting, and emergent modernist choreography. The writings shed light on the diverse interests served by a range of cultural practitioners and on the complex ways in which the late Victorians invented themselves as modern subjects. This volume will be essential reading for students of British literary and cultural history as well as for those interested in feminist, gay, and lesbian studies. Contributors are: Oliver Buckton, Richard Dellamora, Dennis Denisoff, Regenia Gagnier, Eric Haralson, Andrew Hewitt, Christopher Lane, Thaïs Morgan, Yopie Prins, Kathy Alexis Psomiades, Julia Saville, Robert Sulcer, Jr., Martha Vicinus.
How the valorization of artistic and political dissidence has contributed to the rise of Chinese contemporary art in the West. Interest in Chinese contemporary art increased dramatically in the West shortly after the 1989 Tiananmen Square protests. Sparked by political sympathy and the mediatized response to the event, Western curators, critics, and art historians were quick to view the new art as an expression of dissident resistance to the Chinese regime. In this book, Marie Leduc proposes that this attribution of political dissidence is not only the result of latent Cold War perceptions about China, but also indicative of the art world's demand for artistically and politically provocative work—a demand that mirrors the valorization of free expression in liberal democracies. Focusing on nine Chinese artists—Wang Du, Wang Keping, Huang Yong Ping, Yang Jiechang, Chen Zhen, Yan Pei-Ming, Shen Yuan, Ru Xiaofan, and Du Zhenjun—who migrated to Paris in and around 1989, Leduc explores how their work was recognized before and after the Tiananmen Square incident. Drawing on personal interviews with the artists and curators, and through an analysis of important exhibitions, events, reviews, and curatorial texts, she demonstrates how these and other Chinese artists have been celebrated both for their artistic dissidence—their formal innovations and introduction of new media and concepts—and for their political dissidence—how their work challenges political values in both China and the West. As Leduc concludes, the rise of Chinese contemporary art in the West highlights the significance of artistic and political dissidence in the production of contemporary art, and the often-unrecognized relationship between contemporary art and liberal democracy.
Winner of the Foundations of Political Theory First Book Prize Honorable Mention, 2001Theory meets practice in The Philosophy and Politics of Czech Dissidence from Patocka to Havel, a critical study of the philosophy and political practice of the Czech dissident movement Charter 77. Aviezer Tucker examines how the political philosophy of Jan Patocka (1907-1977), founder of Charter 77, influenced the thinking and political leadership of Vaclav Havel as dissident and president. The Philosophy and Politics of Czech Dissidence from Patocka to Havel is the first serious treatment of Havel as philosopher and Patocka as a political thinker. Through the Charter 77 dissident movement in Czechoslovakia, opponents of communism based their civil struggle for human rights on philosophic foundations, and members of the Charter 77 later led the Velvet Revolution. After Patocka's self-sacrifice in 1977, Vaclav Havel emerged a strong philosophical and political force, and he continued to apply Patocka's philosophy in order to understand the human condition under late communism and the meaning of dissidence. However, the political/philosophical orientation of the Charter 77 movement failed to provide President Havel with an adequate basis for comprehending and responding to the extraordinary political and economic problems of the postcommunist period. In his discussion of Havel's presidency and the eventual corruption of the Velvet Revolution, Tucker demonstrates that the weaknesses in Charter 77 member's understanding of modernity, which did not matter while they were dissidents, seriously harmed their ability to function in a modern democratic system. Within this context, Tucker also examines Havel's recent attempt to topple the democratic but corrupt government in 1997-1998. The Philosophy and Politics of Czech Dissidence from Patocka to Havel will be of interest to students of philosophy and politics, scholars and students of Slavic studies, and historians, as well as anyone fascinated by the nature of dissidence.
International Latino Book Awards, Honorable Mention, Best Biography (English) American Educational Research Association, Division B: Curriculum Studies, Outstanding Book Award Focusing on the didactic nature of the work of Reinaldo Arenas, this book demonstrates the Cuban writer’s influence as public pedagogue, mentor, and social activist whose teaching on resistance to normative ideologies resonates in societies past, present, and future. Through a multidisciplinary approach bridging educational, historiographic, and literary perspectives, The Dissidence of Reinaldo Arenas illuminates how Arenas’s work remains a cutting-edge source of inspiration for today’s audiences, particularly LGBTQI readers. It shows how Arenas’s aesthetics contain powerful insights for exploring dissensus whether in the context of Cuba, broader Pan-American and Latinx-U.S. queer movements of social justice, or transnational citizenship politics. Carefully dissecting Arenas’s themes against the backdrop of his political activity, this book presents the writer’s poetry, novels, and plays as a curriculum of dissidence that provides models for socially engaged intellectual activism. Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
Vasily Rudich examines dissidence under Nero from both historical and psychological perspectives and inquires into the balance of the universal and historically conditioned components of political behaviour. The careers of numerous dissident individuals and their attempts at accomodation to a hostile reality are discussed.
Drawing on a range of philosophical, anthropological and political theories, Athena Athanasiou offers a new way of thinking about agonistic performativity with its critical connections to national and gender politics and alongside the political intricacies of affectivity, courage and justice. Through an ethnographic account of the urban feminist and antinationalist movement Women in Black of Belgrade during the Yugoslav wars, she shows that we might understand their dissident politics of mourning as a means to refigure political life beyond sovereign accounts of subjectivity and agency.