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In a provocative yet unexpectedly tender debut, Kopano Maroga immerses themself in Christian myth and mystery, emerging reborn. In a riotous, innovative and unapologetic display of self-exposure, self-examination and self-love, Maroga appropriates and creates a (sometimes literal) collage of religious imagery, sexual want, and embodiedness - eventually widening their gaze to encompass the realities faced by black, queer, femme and trans folk in South Africa and further afield. Indeed, these are poems of pain, loss, introspection, and regret; but they are also works of great and usual beauty, depth, desire, and ambition - in sum, the evidence of a powerful new voice in South African poetry.
This book explores the critical and transformative potential of arts and popular culture for constructions of religion, gender and sexuality. Doing so, it deploys and develops the notion of blasphemous art, honouring and building on the work of Anne-Marie Korte. Deliberately articulated with a question mark, Blasphemous Art? raises questions about the spaces, methods and resources available to individuals and communities at the gendered, sexual and racialized margins of society to tell their stories, claim their bodies and perform symbolic and sacred meaning, and it analyses the productive effects – both aesthetically, politically and theoretically – of such provocative work. The book focuses on a wide range of artistic and cultural expressions, featuring case studies from across Europe, South Africa, Israel and the United States. Drawing on feminist, queer and postcolonial perspectives, the book reveals the critical, constructive and imaginative potential of the creative arts (broadly defined) and popular culture in its complex and diverse representation of, and engagement with, religious life, belief, text, ritual and practice.
Since its publication in April 2017, Collective Amnesia has taken the South African literary scene by storm. The book is in its twelfth print run and is prescribed for study at tertiary level in South African Universities and abroad. The collection is the recipient of the 2018 Glenna Luschei Prize for African Poetry, named 2017 book of the year by the City Press and one of the best books of 2017 by The Sunday Times and Quartz Africa. It is translated into Spanish (Flores Rara, 2019), German (Wunderhorn Publishing House, 2019), Danish (Rebel with a Cause, 2019), Dutch (Poeziecentrum, 2020), Swedish (Rámus förlag). Forthcoming translations: Portuguese (Editora Trinta Zero Nove), Italian (Arcipelago itaca) and French (éditions Lanskine). Collective Amnesia examines the intersection of politics, race, religion, relationships, sexuality, feminism, memory and more. The poems provoke institutions and systems of learning and interrogates what must be unlearned in society, academia, relationships, religion, and spaces of memory and forgetting.
A philosophical manual of media power for the network age. Evil Media develops a philosophy of media power that extends the concept of media beyond its tried and trusted use in the games of meaning, symbolism, and truth. It addresses the gray zones in which media exist as corporate work systems, algorithms and data structures, twenty-first century self-improvement manuals, and pharmaceutical techniques. Evil Media invites the reader to explore and understand the abstract infrastructure of the present day. From search engines to flirting strategies, from the value of institutional stupidity to the malicious minutiae of databases, this book shows how the devil is in the details. The title takes the imperative “Don't be evil” and asks, what would be done any differently in contemporary computational and networked media were that maxim reversed. Media here are about much more and much less than symbols, stories, information, or communication: media do things. They incite and provoke, twist and bend, leak and manage. In a series of provocative stratagems designed to be used, Evil Media sets its reader an ethical challenge: either remain a transparent intermediary in the networks and chains of communicative power or become oneself an active, transformative medium.
A comprehensive accounting of the Apostle Paul's theology
The grumble of the music, the corridors, the streets of Durban, the heat, the sweat, the voices, the loss - everything.
In Spaces of Conflict, Sounds of Solidarity, Gaye Theresa Johnson examines interracial anti-racist alliances, divisions among aggrieved minority communities, and the cultural expressions and spatial politics that emerge from the mutual struggles of Blacks and Chicanos in Los Angeles from the 1940s to the present. Johnson argues that struggles waged in response to institutional and social repression have created both moments and movements in which Blacks and Chicanos have unmasked power imbalances, sought recognition, and forged solidarities by embracing the strategies, cultures, and politics of each others' experiences. At the center of this study is the theory of spatial entitlement: the spatial strategies and vernaculars utilized by working class youth to resist the demarcations of race and class that emerged in the postwar era. In this important new book, Johnson reveals how racial alliances and antagonisms between Blacks and Chicanos in L.A. had spatial as well as racial dimensions.
From a master historian, the definitive account of history's first terrorists An offshoot of the Ismaili Shi'ite sect of Islam, the Assassins were the first group to make systematic use of murder as a political weapon. Established in Iran and Syria in the eleventh and twelfth centuries, they aimed to overthrow the existing Sunni order in Islam and replace it with their own. They terrorized their foes with a series of dramatic murders of Islamic leaders, as well as of some of the Crusaders, who brought their name and fame back to Europe. Professor Lewis traces the history of this radical group, studying its teachings and its influence on Muslim thought. Particularly insightful in light of the rise of the terrorist attacks in the U.S. and in Israel, this account of the Assassins -- whose name is now synonymous with politically motivated murderers -- places recent events in historical perspective and sheds new light on the fanatic mind.
Attempting to bridge the gap between specialised scholarship in the humanistic disciplines and an interdisciplinary project of cultural analysis, Mieke Bal has written an intellectual travel guide that charts the course 'beyond' cultural studies. As with any guide, it can be used in a number of ways and the reader can follow or willfully ignore any of the paths it maps or signposts. Bal's focus for this book is the idea that interdisciplinarity in the humanities - necessary, exciting, serious - must seek its heuristic and methodological basis in concepts rather than its methods. Concepts are not grids to put over an object. The counterpart of any given concept is the cultural text or work or 'thing' that constitutes the object of analysis. No concept is meaningful for cultural analysis unless it helps us to understand the object better on its own terms. Bal offers the reader a sustained theoretical reflection on how to 'do' cultural analysis through a tentative practice of doing just that. This offers a concrete practice to theoretical constructs, and allows the proposed method more accessibility. Please note: illustrations have been removed from the ebook at the request of the rightsholder.
The Arab Revolutions that began in 2011 reignited interest in the question of theory and practice, imbuing it with a burning political urgency. In Revolution and Disenchantment Fadi A. Bardawil redescribes for our present how an earlier generation of revolutionaries, the 1960s Arab New Left, addressed this question. Bardawil excavates the long-lost archive of the Marxist organization Socialist Lebanon and its main theorist, Waddah Charara, who articulated answers in their political practice to fundamental issues confronting revolutionaries worldwide: intellectuals as vectors of revolutionary theory; political organizations as mediators of theory and praxis; and nonemancipatory attachments as impediments to revolutionary practice. Drawing on historical and ethnographic methods and moving beyond familiar reception narratives of Marxist thought in the postcolony, Bardawil engages in "fieldwork in theory" that analyzes how theory seduces intellectuals, cultivates sensibilities, and authorizes political practice. Throughout, Bardawil underscores the resonances and tensions between Arab intellectual traditions and Western critical theory and postcolonial theory, deftly placing intellectuals from those traditions into a much-needed conversation.