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A mesmerizing ethnography of the largest favela in Rio, where residents articulate their own politics of freedom against the backdrop of multiple forms of oppression. Normative liberalism has promoted the freedom of privileged subjects, those entitled to rights—usually white, adult, heteronormative, and bourgeois—at the expense of marginalized groups, such as Black people, children, LGBTQ people, and slum dwellers. In this visceral ethnography of Rocinha, the largest favela in Rio de Janeiro, Brazil, Moisés Lino e Silva explores what happens when liberalism is challenged by people whose lives are impaired by normative understandings of liberty. He calls such marginalized visions of freedom “minoritarian liberalism,” a concept that stands in for overlapping, alternative modes of freedom—be they queer, favela, or peasant. Lino e Silva introduces readers to a broad collective of favela residents, most intimately accompanying Natasha Kellem, a charismatic self-declared travesti (a term used in Latin America to indicate a specific form of female gender construction opposite to the sex assigned at birth). While many of those the author meets consider themselves “queer,” others are treated as “abnormal” simply because they live in favelas. Through these interconnected experiences, Lino e Silva not only pushes at the boundaries of anthropological inquiry, but also offers ethnographic evidence of non-normative routes to freedom for those seeking liberties against the backdrop of capitalist exploitation, transphobia, racism, and other patterns of domination.
A mesmerizing ethnography of the largest favela in Rio, where residents articulate their own politics of freedom against the backdrop of multiple forms of oppression. Normative liberalism has promoted the freedom of privileged subjects, those entitled to rights—usually white, adult, heteronormative, and bourgeois—at the expense of marginalized groups, such as Black people, children, LGBTQ people, and slum dwellers. In this visceral ethnography of Rocinha, the largest favela in Rio de Janeiro, Brazil, Moisés Lino e Silva explores what happens when liberalism is challenged by people whose lives are impaired by normative understandings of liberty. He calls such marginalized visions of freedom “minoritarian liberalism,” a concept that stands in for overlapping, alternative modes of freedom—be they queer, favela, or peasant. Lino e Silva introduces readers to a broad collective of favela residents, most intimately accompanying Natasha Kellem, a charismatic self-declared travesti (a term used in Latin America to indicate a specific form of female gender construction opposite to the sex assigned at birth). While many of those the author meets consider themselves “queer,” others are treated as “abnormal” simply because they live in favelas. Through these interconnected experiences, Lino e Silva not only pushes at the boundaries of anthropological inquiry, but also offers ethnographic evidence of non-normative routes to freedom for those seeking liberties against the backdrop of capitalist exploitation, transphobia, racism, and other patterns of domination.
Hermann Cohen (1842–1918) is often held to be one of the most important Jewish philosophers of the nineteenth century. Paul E. Nahme, in this new consideration of Cohen, liberalism, and religion, emphasizes the idea of enchantment, or the faith in and commitment to ideas, reason, and critique—the animating spirits that move society forward. Nahme views Cohen through the lenses of the crises of Imperial Germany—the rise of antisemitism, nationalism, and secularization—to come to a greater understanding of liberalism, its Protestant and Jewish roots, and the spirits of modernity and tradition that form its foundation. Nahme's philosophical and historical retelling of the story of Cohen and his spiritual investment in liberal theology present a strong argument for religious pluralism and public reason in a world rife with populism, identity politics, and conspiracy theories.
In Minor China Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.” Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method—tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yinghua Lu, and others, Yapp demonstrates that the minor allows for discussing non-Western art more broadly and for reconfiguring dominant political and aesthetic institutions and structures.
In this bold, innovative work, Dorinne Kondo theorizes the racialized structures of inequality that pervade theater and the arts. Grounded in twenty years of fieldwork as dramaturg and playwright, Kondo mobilizes critical race studies, affect theory, psychoanalysis, and dramatic writing to trenchantly analyze theater's work of creativity as theory: acting, writing, dramaturgy. Race-making occurs backstage in the creative process and through economic forces, institutional hierarchies, hiring practices, ideologies of artistic transcendence, and aesthetic form. For audiences, the arts produce racial affect--structurally over-determined ways affect can enhance or diminish life. Upending genre through scholarly interpretation, vivid vignettes, and Kondo's original play, Worldmaking journeys from an initial romance with theater that is shattered by encounters with racism, toward what Kondo calls reparative creativity in the work of minoritarian artists Anna Deavere Smith, David Henry Hwang, and the author herself. Worldmaking performs the potential for the arts to remake worlds, from theater worlds to psychic worlds to worldmaking visions for social transformation.
This book is the essential guide for understanding how state power and politics are contested and exercised on social media. It brings together contributions by social media scholars who explore the connection of social media with revolutions, uprising, protests, power and counter-power, hacktivism, the state, policing and surveillance. It shows how collective action and state power are related and conflict as two dialectical sides of social media power, and how power and counter-power are distributed in this dialectic. Theoretically focused and empirically rigorous research considers the two-sided contradictory nature of power in relation to social media and politics. Chapters cover social media in the context of phenomena such as contemporary revolutions in Egypt and other countries, populism 2.0, anti-austerity protests, the fascist movement in Greece's crisis, Anonymous and police surveillance.
An innovative exploration of ways of thinking and doing politics that challenge liberal assumptions.'Politics on the edges of liberalism' refers to a grey zone where phenomena such as difference, populism, revolution and agitation turn the distinction between the inside and the outside of liberalism into a matter of dispute.Each chapter takes on one of these ideas, discussing the intellectual background animating the politics of the culture wars and its celebration of particularism over the universalism of classical liberal thought. Populism becomes a spectral recurrence rather than an outside of democracy. Agitation reappaers in emancipatory politics, and the idea of revolution is thought through outside the Jacobin view of insurrection, overthrow and total re-foundation.This is truly interdisciplinary inquiry at the cutting edge of contemporary debates in politics, critical theory, philosophy and sociology. The author draws from an impressive range of thinkers such as Kant, Benjamin, Derrida, Freu
In this provocative book, Anthony Hutchison challenges the belief that the American novel is "antipolitical" and condemns the relative absence of American literature in studies of the political novel. In Hutchison's view, our fiction is always informed by the complexities of the American political tradition, and to acknowledge this is to introduce a new, rewarding chapter of critical inquiry into the study of American literature. Focusing on the works of Herman Melville, Gore Vidal, Russell Banks, Lionel Trilling, and Philip Roth, Hutchison finds a critique of liberalism put forth by classical republicanism, transcendentalism, Marxism, and neoconservatism at their respective moments of historical ascent. He shows how these authors take very specific historical periods and episodes for their subject matter and interrogate, critique, and contextualize pivotal moments in the intellectual history of American liberalism. In their work, liberalism reconstitutes itself in the face of competing ideological pressures, demonstrating that the novel is very much characterized by a "republican" concern with the health of the polity. Considering such artists, philosophers, and theorists as Ralph Waldo Emerson, Fyodor Dostoevsky, Hannah Arendt, and John Dewey, alongside numerous contemporary commentators and historians, Hutchison repositions American novelists as serious political thinkers. He reveals Melville's Moby Dick to be the formal template for the American political novel and compares and contrasts its embodiment of "republican" fiction with the "democratic" mode Mikhail Bakhtin associates with Dostoevsky. He especially draws attention to the meaning of republicanism in the early national period, the place of abolitionism in the Civil War, and the post-1930s liberal retreat from Left radicalism. By concentrating on the tension between issues of liberalism and morality in the political thought of these American novelists, Hutchison hopes to advance a more nuanced and textured understanding of the U.S. political tradition. He scrutinizes a number of critical studies and makes a cogent case for a more interdisciplinary approach to the American political novel that focuses less on the politics of representation and more on the representation of politics.
The history of modern Spain is dominated by the figure of Francisco Franco, who presided over one of the longest authoritarian regimes of the twentieth century. Between 1936 and the end of the regime in 1975, Franco’s Spain passed through several distinct phases of political, institutional, and economic development, moving from the original semi-fascist regime of 1936–45 to become the Catholic corporatist “organic democracy” under the monarchy from 1945 to 1957. Distinguished historian Stanley G. Payne offers deep insight into the career of this complex and formidable figure and the enormous changes that shaped Spanish history during his regime.
The Routledge Companion to the Philosophy of Law provides a comprehensive, non-technical philosophical treatment of the fundamental questions about the nature of law. Its coverage includes law’s relation to morality and the moral obligations to obey the law, the main philosophical debates about particular legal areas such as criminal responsibility, property, contracts, family law, law and justice in the international domain, legal paternalism and the rule of law. The entirely new content has been written specifically for newcomers to the field, making the volume particularly useful for undergraduate and graduate courses in philosophy of law and related areas. All 39 chapters, written by the world’s leading researchers and edited by an internationally distinguished scholar, bring a focused, philosophical perspective to their subjects. The Routledge Companion to the Philosophy of Law promises to be a valuable and much consulted student resource for many years.