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In Unruly Visions Gayatri Gopinath brings queer studies to bear on investigations of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture. Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.
In 1933, in the shadow of the Great Depression, Dorothy Day launched the Catholic Worker Movement, a worldwide crusade for equality. In Unruly Saint, D. L. Mayfield illuminates the ways in which Day found the love of God in, and expressed it for, her neighbors during a time of great upheaval.
By bringing queer theory to bear on ideas of diaspora, Gayatri Gopinath produces both a more compelling queer theory and a more nuanced understanding of diaspora. Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive. Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.
From a MacArthur "Genius," a bold new perspective on the history of Asia, highlighting the long quest to tame its waters Asia's history has been shaped by her waters. In Unruly Waters, historian Sunil Amrith reimagines Asia's history through the stories of its rains, rivers, coasts, and seas -- and of the weather-watchers and engineers, mapmakers and farmers who have sought to control them. Looking out from India, he shows how dreams and fears of water shaped visions of political independence and economic development, provoked efforts to reshape nature through dams and pumps, and unleashed powerful tensions within and between nations. Today, Asian nations are racing to construct hundreds of dams in the Himalayas, with dire environmental impacts; hundreds of millions crowd into coastal cities threatened by cyclones and storm surges. In an age of climate change, Unruly Waters is essential reading for anyone seeking to understand Asia's past and its future.
Collage illustrations introduce the letters of the alphabet.
Unruly Media is the first book to account for the current audiovisual landscape across media and platform. It includes new theoretical models and close readings of current media as well as the oeuvre of popular and influential directors.
"Part primer, part parable, part elegy for the depth and decency we sacrifice daily to the order of self-possession, The Wind invites us to enjoy it inventively .... A philosopher coming up against the limits of philosophy's forms of communication ("Philosophy, without being in touch, is always abstract"), Bendik-Keymer courts a thoughtfulness in which wonder practically circumvents theory. Energized by "utopian anger," he invokes the clearing, shaking energies of wind against the violent social rigidities we accept as normal. The wind, impersonal, is the figure through which to keep the dynamic inter-personal in view. ... I admire this book's inventiveness, its willingness to break with discipline in pursuing a wider vision of accountability." (Sarah Gridley, author of "Weather Eye Open" and "Loom") A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as "spiritual exercise"). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it's full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind's only holesome.
Winner of the PROSE Award An NRC Handelsblad Best Book of the Year “Ambitious and impressive...At a time when the very survival of both freedom and democracy seems uncertain, books like this are more important than ever.” —The Nation “Helps explain how partisans on both the right and the left can claim to be protectors of liberty, yet hold radically different understandings of its meaning...This deeply informed history of an idea has the potential to combat political polarization.” —Publishers Weekly “Ambitious and bold, this book will have an enormous impact on how we think about the place of freedom in the Western tradition.” —Samuel Moyn, author of Not Enough “Brings remarkable clarity to a big and messy subject...New insights and hard-hitting conclusions about the resistance to democracy make this essential reading for anyone interested in the roots of our current dilemmas.” —Lynn Hunt, author of History: Why It Matters For centuries people in the West identified freedom with the ability to exercise control over the way in which they were governed. The equation of liberty with restraints on state power—what most people today associate with freedom—was a deliberate and dramatic rupture with long-established ways of thinking. So what triggered this fateful reversal? In a masterful and surprising reappraisal of more than two thousand years of Western thinking about freedom, Annelien de Dijn argues that this was not the natural outcome of such secular trends as the growth of religious tolerance or the creation of market societies. Rather, it was propelled by an antidemocratic backlash following the French and American Revolutions. The notion that freedom is best preserved by shrinking the sphere of government was not invented by the revolutionaries who created our modern democracies—it was first conceived by their critics and opponents. De Dijn shows that far from following in the path of early American patriots, today’s critics of “big government” owe more to the counterrevolutionaries who tried to undo their work.
The claim that 'LGBT rights are human rights' encounters fierce opposition in many parts of the world, as governments and religious leaders have used resistance to 'LGBT rights' to cast themselves as defenders of traditional values against neo-colonial interference and western decadence. Queer Wars explores the growing international polarization over sexual rights, and the creative responses from social movements and activists, some of whom face murder, imprisonment or rape because of their perceived sexuality or gender expression. This book asks why sexuality and gender identity have become so vexed an issue between and within nations, and how we can best advocate for change.
In Unruly Immigrants, Monisha Das Gupta explores the innovative strategies that South Asian feminist, queer, and labor organizations in the United States have developed to assert claims to rights for immigrants without the privileges or security of citizenship. Since the 1980s many South Asian immigrants have found the India-centered “model minority” politics of previous generations inadequate to the task of redressing problems such as violence against women, homophobia, racism, and poverty. Thus they have devised new models of immigrant advocacy, seeking rights that are mobile rather than rooted in national membership, and advancing their claims as migrants rather than as citizens-to-be. Creating social justice organizations, they have inventively constructed a transnational complex of rights by drawing on local, national, and international laws to seek entitlements for their constituencies. Das Gupta offers an ethnography of seven South Asian organizations in the northeastern United States, looking at their development and politics as well as the conflicts that have emerged within the groups over questions of sexual, class, and political identities. She examines the ways that women’s organizations have defined and responded to questions of domestic violence as they relate to women’s immigration status; she describes the construction of a transnational South Asian queer identity and culture by people often marginalized by both mainstream South Asian and queer communities in the United States; and she draws attention to the efforts of labor groups who have sought economic justice for taxi drivers and domestic workers by confronting local policies that exploit cheap immigrant labor. Responding to the shortcomings of the state, their communities, and the larger social movements of which they are a part, these groups challenge the assumption that citizenship is the necessary basis of rights claims.