Contributors. Rogaia Mustafa Abusharaf, Jacqueline Bhabha, Wendy Brown, Dicle Kogacioglu, Joan Wallach Scott, Linda M. G. Zerilli

Contributors. Alain Badiou, Elizabeth Bronfen, Darian Leader, Jacques Alain Miller, Genevieve Morel, Renata Salecl, Eric L. Santner, Colette Soler, Paul Verhaeghe, Slavoj Žižek, Alenka Zupancic

In thirteen original essays, the contributors examine the movement in relation to artistic practice, public funding, and the transnational art market and consider its legacy for today’s artists and activists. The volume includes a unique catalog of images, an extensive list of suggested readings, and a descriptive timeline situating the movement vis-à-vis relevant artworks and films, exhibitions, cultural criticism, and political events from 1960 to 2000. A dynamic living archive of conversations, texts, and images, Shades of Black will be an essential resource.

Contributors. Stanley Abe, Jawad Al-Nawab, Rasheed Araeen, David A. Bailey, Adelaide Bannerman, Ian Baucom, Dawoud Bey, Sonia Boyce, Allan deSouza, Jean Fisher, Stuart Hall, Lubaina Himid, Naseem Khan, susan pui san lok, Kobena Mercer, Yong Soon Min, Keith Piper, Zineb Sedira, Gilane Tawadros, Leon Wainwright, Judith Wilson

Contributors. Matt Bell, Amanda Berry, Daniel Boyarin, Judith Brown, Steven Bruhm, Peter Coviello, Julie Crawford, Drew Daniel, Mario DiGangi, Lee Edelman, Jason Edwards, Aranye Fradenburg, Carla Freccero, Daniel Juan Gil, Jonathan Goldberg, Jody Greene, Stephen Guy-Bray, Ellis Hanson, Sharon Holland, Cary Howie, Lynne Huffer, Barbara Johnson, Hector Kollias, James Kuzner , Arthur L. Little Jr., Philip Lorenz, Heather Love, Jeffrey Masten, Robert McRuer , Madhavi Menon, Michael Moon, Paul Morrison, Andrew Nicholls, Kevin Ohi, Patrick R. O’Malley, Ann Pellegrini, Richard Rambuss, Valerie Rohy, Bethany Schneider, Kathryn Schwarz, Laurie Shannon, Ashley T. Shelden, Alan Sinfield, Bruce Smith, Karl Steel, Kathryn Bond Stockton, Amy Villarejo, Julian Yates

Through his ambitious rebuilding plan, the Viceroy sought to assert the power of the colonial state over the Church, the upper classes, and other groups. Agreeing with most inhabitants of the fervently Catholic city that the earthquake-tsunami was a manifestation of God’s wrath for Lima’s decadent ways, he hoped to reign in the city’s baroque excesses and to tame the city’s notoriously independent women. To his great surprise, almost everyone objected to his plan, sparking widespread debate about political power and urbanism. Illuminating the shaky foundations of Spanish control in Lima, Walker describes the latent conflicts—about class, race, gender, religion, and the very definition of an ordered society—brought to the fore by the earthquake-tsunami of 1746.

Silvan Tomkins (1911–1991) was one of the most radical and imaginative psychologists of the twentieth century. In Affect, Imagery, Consciousness, a four-volume work published over the last thirty years of his life, Tomkins developed an ambitious theory of affect steeped in cybernetics and systems theory as well as in psychoanalysis, ethology, and neuroscience. The implications of his conceptually daring and phenomenologically suggestive theory are only now—in the context of postmodernism—beginning to be understood. With Shame and Its Sisters, editors Eve Kosofsky Sedgwick and Adam Frank make available for the first time an engaging and accessible selection of Tomkins’s work.
Featuring intensive examination of several key affects, particularly shame and anger, this volume contains many of Tomkins’s most haunting, diagnostically incisive, and theoretically challenging discussions. An introductory essay by the editors places Tomkins’s work in the context of postwar information technologies and will prompt a reexamination of some of the underlying assumptions of recent critical work in cultural studies and other areas of the humanities. The text is also accompanied by a biographical sketch of Tomkins by noted psychologist Irving E. Alexander, Tomkins’s longtime friend and collaborator.

The contributors—a team of Peruvian and U.S. historians, social scientists, and human rights activists—explore the origins, social dynamics, and long-term consequences of the effort by Shining Path to effect an armed communist revolution. The book begins by interpreting Shining Path’s emergence and decision for war as one logical culmination, among several competing culminations, of trends in oppositional politics and social movements. It then traces the experiences of peasants and refugees to demonstrate how human struggle and resilience came together in grassroots determination to defeat Shining Path, and explores the unsuccessful efforts of urban shantytown dwellers, as well as rural and urban activists, to build a “third path” to social justice. Integral to this discussion is an examination of women’s activism and consciousness during the years of the crisis. Finally, this book analyzes the often paradoxical and unintended legacies of this tumultuous period for social and human rights movements, and for presidential and military leadership in Peru.

Extensive field research, broad historical vision, and strong editorial coordination enable the authors to write a coherent and deeply humanistic account, one that draws out the inner tragedies, ambiguities, and conflicts of the war.

Providing historically grounded explication of the conflicts that reshaped contemporary Peru, Shining and Other Paths will be widely read by Latin Americanists, historians, anthropologists, gender theorists, sociologists, political scientists, and human rights activists.

Contributors. Jo-Marie Burt, Marisol de la Cadena, Isabel Coral Cordero, Carlos Iván Degregori, Iván Hinojosa, Carlos Basombrío Iglesias, Florencia E. Mallon, Nelson Manrique, Hortensia Muñoz, Enrique Obando, Patricia Oliart, Ponciano del Pino H., José Luis Rénique, Orin Starn, Steve J. Stern

Contributors. Richard Astro, Jackson J. Benson, Carroll Britch, John Ditsky, Joseph Fontenrose, Warren French, Robert Gentry, Mimi Reisel Gladstein, William Goldhurst, Tetsumaro Hayashi, Robert S. Hughes Jr., Howard Levant, Clifford Lewis, Peter Lisca, Anne Loftis, Charles R. Metzger, Michael J. Meyer, Robert E. Morsberger, Louis Owens, Roy S. Simmonds, Mark Spilka, John Timmerman

An examination of the complex cultural politics of mass consumerism in a globalized marketplace, Shoveling Smoke is a pathbreaking and detailed ethnography of the contemporary Indian advertising industry. It is also a critical and innovative intervention into current theoretical debates on the intersection of consumerist globalization, aesthetic politics, and visual culture. William Mazzarella traces the rise in India during the 1980s of mass consumption as a self-consciously sensuous challenge to the austerities of state-led developmentalism. He shows how the decisive opening of Indian markets to foreign brands in the 1990s refigured established models of the relationship between the local and the global and, ironically, turned advertising professionals into custodians of cultural integrity.

Sick building syndrome embodied a politics of uncertainty that continues to characterize contemporary American environmental debates. Michelle Murphy explores the production of uncertainty by juxtaposing multiple histories, each of which explains how an expert or lay tradition made chemical exposures perceptible or imperceptible, existent or nonexistent. She shows how uncertainty emerged from a complex confluence of feminist activism, office worker protests, ventilation engineering, toxicology, popular epidemiology, corporate science, and ecology. In an illuminating case study, she reflects on EPA scientists’ efforts to have their headquarters recognized as a sick building. Murphy brings all of these histories together in what is not only a thorough account of an environmental health problem but also a much deeper exploration of the relationship between history, materiality, and uncertainty.

Media technologies were introduced to Nigeria by colonial regimes as part of an attempt to shape political subjects and create modern, urban Africans. Larkin considers the introduction of media along with electric plants and railroads as part of the wider infrastructural project of colonial and postcolonial urbanism. Focusing on radio networks, mobile cinema units, and the building of cinema theaters, he argues that what media come to be in Kano is the outcome of technology’s encounter with the social formations of northern Nigeria and with norms shaped by colonialism, postcolonial nationalism, and Islam. Larkin examines how media technologies produce the modes of leisure and cultural forms of urban Africa by analyzing the circulation of Hindi films to Muslim Nigeria, the leisure practices of Hausa cinemagoers in Kano, and the dynamic emergence of Nigerian video films. His analysis highlights the diverse, unexpected media forms and practices that thrive in urban Africa. Signal and Noise brings anthropology and media together in an original analysis of media’s place in urban life.

Decades of terror-inspired fear have led the Guatemalans to adopt a survival strategy of silence so complete that it verges on collective amnesia. The author’s great triumph is that he finds a way for people to tell their stories, and it is through these stories—dramatic, intimate, heartbreaking—that we are shown the anatomy of a thwarted revolution that has relevance not only to Guatemala but also to countless places around the world where terror has been used as a political tool.

Combining ethnographic observation derived from her experience as a student and performer of South Indian music with close readings of archival materials, Weidman traces the emergence of this politics of voice through compelling analyses of the relationship between vocal sound and instrumental imitation, conventions of performance and staging, the status of women as performers, debates about language and music, and the relationship between oral tradition and technologies of printing and sound reproduction. Through her sustained exploration of the way “voice” is elaborated as a trope of modern subjectivity, national identity, and cultural authenticity, Weidman provides a model for thinking about the voice in anthropological and historical terms. In so doing, she shows that modernity is characterized as much by particular ideas about orality, aurality, and the voice as it is by regimes of visuality.

Contributors to this issue represent a wide range of disciplines, from Latin American studies and sociology to political theory and literary criticism. They bring a global perspective to the social and political legacy of the 1960s, touching on the Caribbean, Latin America, the former USSR, China, and France, as well as the United States. One contributor presents a reexamination of Latin American armed struggles in the 1960s that foregrounds the relatively positive influence of these struggles on present-day Latin American society and politics. Another contributor translates a seminal essay on José Martí written by one of Cuba’s foremost intellectuals in the mid-1960s, when the course of the Cuban revolution was still uncertain. Yet another contributor considers the forces that have sought to neutralize the struggles and negate the gains of the African American liberation movement in the 1960s American South.

Contributors. John Beverley, Anthony Bogues, Christopher Connery, Roberto Fernández Retamar, Wlad Godzich, Boris Kagarlitsky, Nina Power, Hortense Spillers, Silvia D. Spitta, Alberto Toscano

Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada.

The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.

Writing about horror, exploitation, and sexploitation films, the contributors delve into topics ranging from the place of the “Aztec horror film” in debates about Mexican national identity to a cycle of 1960s films exploring homosexual desire in the military. One contributor charts the distribution saga of Mario Bava’s 1972 film Lisa and the Devil through the highs and lows of art cinema, fringe television, grindhouse circuits, and connoisseur DVD markets. Another offers a new perspective on the work of Doris Wishman, the New York housewife turned sexploitation director of the 1960s who has become a cult figure in bad-cinema circles over the past decade. Other contributors analyze the relation between image and sound in sexploitation films and Italian horror movies, the advertising strategies adopted by sexploitation producers during the early 1960s, the relationship between art and trash in Todd Haynes’s oeuvre, and the ways that the Friday the 13th series complicates the distinction between “trash” and “legitimate” cinema. The volume closes with an essay on why cinephiles love to hate the movies.

Contributors. Harry M. Benshoff, Kay Dickinson, Chris Fujiwara, Colin Gunckel, Joan Hawkins, Kevin Heffernan, Matt Hills, Chuck Kleinhans, Tania Modleski, Eric Schaefer, Jeffrey Sconce, Greg Taylor

Contributors. Larry Churchill, David DeGrazia, Cora Diamond, James Edwards, Carl Elliott, Grant Gillett, Paul Johnston, Margaret Olivia Little, James Lindemann Nelson, Knut Erik Tranoy

Moon illuminates the careers of James, Warhol, and others by examining the imaginative investments of their protogay childhoods in their work in ways that enable new, more complex cultural readings. He deftly engages notions of initiation and desire not within the traditional framework of “sexual orientation” but through the disorienting effects of imitation. Whether invoking the artist Joseph Cornell’s early fascination with the Great Houdini or turning his attention to James’s self-described “initiation into style” at the age of twelve—when he first encountered the homoerotic imagery in paintings by David, Géricault, and Girodet—Moon reveals how the works of these artists emerge from an engagement that is obsessive to the point of “queerness.”

Rich in historical detail and insistent in its melding of the recent with the remote, the literary with the visual, the popular with the elite, A Small Boy and Others presents a hitherto unimagined tradition of brave and outrageous queer invention. This long-awaited contribution from Moon will be welcomed by all those engaged in literary, cultural, and queer studies.

Heckman’s narrative stretches from the early-twentieth-century introduction into the home of electric appliances and industrial time-management techniques, through the postwar advent of television and the space-age “house of tomorrow,” to the contemporary automated, networked “smart home.” He considers all these developments in relation to lifestyle and consumer narratives. Building on the tension between agency and control within the walls of homes designed to anticipate and fulfill desires, Heckman engages debates about lifestyle, posthumanism, and rights under the destabilizing influences of consumer technologies, and he considers the utopian and dystopian potential of new media forms. Heckman argues that the achievement of an environment completely attuned to its inhabitants’ specific wants and needs—what he calls the “Perfect Day”—institutionalizes everyday life as the ultimate consumer practice.

Contributors: Chris King Chi Chan, Chu Yiu-Wai, Alexander Day, Arif Dirlik, Han Shaogong, Pun Ngai, Fengzhen Wang, Wang Hui, Wang Shaoguang, Shaobo Xie, Yu Keping

Hewitt focuses on the period between the mid-nineteenth century and the early twentieth and considers dancers and social theorists in Germany, Britain, France, and the United States. Analyzing the arguments of writers including Friedrich Schiller, Theodor Adorno, Hans Brandenburg, Ernst Bloch, and Siegfried Kracauer, he reveals in their thinking about the movement of bodies a shift from an understanding of play as the condition of human freedom to one prioritizing labor as either the realization or alienation of embodied human potential. Whether considering understandings of the Charleston, Isadora Duncan, Nijinsky, or the famous British chorus line the Tiller Girls, Hewitt foregrounds gender as he uses dance and everyday movement to rethink the relationship of aesthetics and social order.

Volume 1 depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country’s first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

The extraordinary efflorescence in Iranian film, TV, and the new media since the consolidation of the Islamic Revolution animates Volume 4. During this time, documentary films proliferated. Many filmmakers took as their subject the revolution and the bloody eight-year war with Iraq; others critiqued postrevolution society. The strong presence of women on screen and behind the camera led to a dynamic women's cinema. A dissident art-house cinema—involving some of the best Pahlavi-era new-wave directors and a younger generation of innovative postrevolution directors—placed Iranian cinema on the map of world cinemas, bringing prestige to Iranians at home and abroad. A struggle over cinema, media, culture, and, ultimately, the legitimacy of the Islamic Republic, emerged and intensified. The media became a contested site of public diplomacy as the Islamic Republic regime as well as foreign governments antagonistic to it sought to harness Iranian popular culture and media toward their own ends, within and outside of Iran. The broad international circulation of films made in Iran and its diaspora, the vast dispersion of media-savvy filmmakers abroad, and new filmmaking and communication technologies helped to globalize Iranian cinema.

A Social History of Iranian Cinema
Volume 1: The Artisanal Era, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume 3: The Islamicate Period, 1978–1984
Volume 4: The Globalizing Era, 1984–2010

Praise for the 3-volume second edition of The Social Medicine Reader:
“A superb collection of essays that illuminate the role of medicine in modern society. Students and general readers are not likely to find anything better.”—Arnold S. Relman, Professor Emeritus of Medicine and Social Medicine, Harvard Medical School

Praise for the first edition:
“This reviewer strongly recommends The Social Medicine Reader to the attention of medical educators.”—Samuel W. Bloom, JAMA: The Journal of the American Medical Association

Volume 3:

Over the past four decades the American health care system has witnessed dramatic changes in private health insurance, campaigns to enact national health insurance, and the rise (and perhaps fall) of managed care. Bringing together seventeen pieces new to this second edition of The Social Medicine Reader and four pieces from the first edition, Health Policy, Markets, and Medicine draws on a broad range of disciplinary perspectives—including political science, economics, history, and bioethics—to consider changes in health care and the future of U.S. health policy. Contributors analyze the historical and moral foundation of today’s policy debates, examine why health care spending is so hard to control in the United States, and explain the political dynamics of Medicare and Medicaid. Selections address the rise of managed care, its impact on patients and physicians, and the ethical implications of applying a business ethos to medical care; they also compare the U.S. health care system to the systems in European countries, Canada, and Japan. Additional readings probe contemporary policy issues, including the emergence of consumer-driven health care, efforts to move quality of care to the top of the policy agenda, and the implications of the aging of America for public policy.

Contributors: Henry J. Aaron, Drew E. Altman, George J. Annas, Robert H. Binstock, Thomas Bodenheimer, Troyen A. Brennan, Robert H. Brook, Lawrence D. Brown, Daniel Callahan, Jafna L. Cox, Victor R. Fuchs, Kevin Grumbach, Rudolf Klein, Robert Kuttner, Larry Levitt, Donald L. Madison, Wendy K. Mariner, Elizabeth A. McGlynn, Jonathan Oberlander, Geov Parrish, Sharon Redmayne, Uwe E. Reinhardt, Michael S. Sparer, Deborah Stone

Praise for the 3-volume second edition of The Social Medicine Reader:
“A superb collection of essays that illuminate the role of medicine in modern society. Students and general readers are not likely to find anything better.”—Arnold S. Relman, Professor Emeritus of Medicine and Social Medicine, Harvard Medical School

Praise for the first edition:
“This reviewer strongly recommends The Social Medicine Reader to the attention of medical educators.”—Samuel W. Bloom, JAMA: The Journal of the American Medical Association

Volume 1:

A woman with what is quite probably a terminal illness must choose between courses of treatment based on contradictory diagnoses. A medical student causes acute pain in his patients as he learns to insert a central line. One doctor wonders how to react when a patient asks him to pray with her; another struggles to come to terms with his mistakes. A physician writes in a prominent medical journal about facilitating a dying woman’s wish to end her life on her own terms; letters to the editor reflect passionate responses both in support of and in opposition to his actions. These experiences and many more are vividly rendered in Patients, Doctors, and Illness, which brings together nineteen pieces that appeared in the first edition of The Social Medicine Reader and eighteen pieces new to this edition. This volume examines the roles and training of health care professionals and their relationship with patients, ethics in health care, and end-of-life experiences and decisions. It includes fiction and nonfiction narratives and poetry; definitions and case-based discussions of moral precepts in health care, such as truth telling, informed consent, privacy, and autonomy; and readings that provide legal, ethical, and practical perspectives on many familiar but persistent ethical and social questions raised by illness and care.

Contributors: Yehuda Amichai, Marcia Angell, George J. Annas, Marc D. Basson, Doris Betts, Amy Bloom, Abenaa Brewster, Raymond Carver, Eric J. Cassell, Larry R. Churchill, James Dickey, Gerald Dworkin, James Dwyer, Miles J. Edwards, Charles R. Feldstein, Chris Feudtner, Leonard Fleck, Arthur Frank, Benjamin Freedman, Atul Gawande, Jerome Groopman, Lawrence D. Grouse, David Hilfiker, Nancy M. P. King, Perri Klass, Melvin Konner, Bobbie Ann Mason, Steven H. Miles, Sharon Olds, Katha Pollitt, Timothy E. Quill, David Schenck, Daniel Shapiro, Susan W. Tolle, Alice Stewart Trillin, William Carlos Williams

Praise for the 3-volume second edition of The Social Medicine Reader:
“A superb collection of essays that illuminate the role of medicine in modern society. Students and general readers are not likely to find anything better.”—Arnold S. Relman, Professor Emeritus of Medicine and Social Medicine, Harvard Medical School

Praise for the first edition:
“This reviewer strongly recommends The Social Medicine Reader to the attention of medical educators.”—Samuel W. Bloom, JAMA: The Journal of the American Medical Association

Volume 2:

Ranging from a historical look at eugenics to an ethnographic description of parents receiving the news that their child has Down syndrome, from analyses of inequalities in the delivery of health services to an examination of the meaning of race in genomics research, and from a meditation on the loneliness of the long-term caregiver to a reflection on what children owe their elderly parents, this volume explores health and illness. Social and Cultural Contributions to Health, Difference, and Inequality brings together seventeen pieces new to this edition of The Social Medicine Reader and five pieces that appeared in the first edition. It focuses on how difference and disability are defined and experienced in contemporary America, how the social categories commonly used to predict disease outcomes—such as gender, race and ethnicity, and social class—have become contested terrain, and why some groups have more limited access to health care services than others. Juxtaposing first-person narratives with empirical and conceptual studies, this compelling collection draws on several disciplines, including cultural and medical anthropology, sociology, and the history of medicine.

Contributors: Laurie K. Abraham, Raj Bhopal, Ami S. Brodoff, Daniel Callahan, David Diamond, Liam Donaldson, Alice Dreger, Sue E. Estroff, Paul Farmer, Anne Fausto-Sterling, Jerome Groopman, Gail E. Henderson, Linda M. Hunt, Barbara A. Koenig, Donald R. Lannin, Sandra Soo-Jin Lee, Carol Levine, Judith Lorber, Nancy Mairs, Holly F. Mathews, James P. Mitchell, Joanna Mountain, Alan R. Nelson, Martin S. Pernick, Rayna Rapp, Sally L. Satel, Robert S. Schwartz, Brian D. Smedley, Adrienne Y. Stith, Sharon Sytsma, Gordon Weaver, Bruce Wilson, Irving Kenneth Zola

Contributors. Antoine Baudin, Svetlana Boym, Greg Castillo, Katerina Clark, Evgeny Dobrenko, Boris Groys, Hans Günther, Julia Hell, Leonid Heller, Mikhail Iampolski, Thomas Lahusen, Régine Robin, Yuri Slezkine, Lily Wiatrowski Phillips, Xudong Zhang, Sergei Zimovets

The collection has a threefold agenda: to trace an intellectual history of sociology as it pertains to empire; to offer empirical studies based around colonies and empires, both past and present; and to provide a theoretical basis for future sociological analyses that may take empire more fully into account. In the 1940s, the British Colonial Office began employing sociologists in its African colonies. In Nazi Germany, sociologists played a leading role in organizing the occupation of Eastern Europe. In the United States, sociology contributed to modernization theory, which served as an informal blueprint for the postwar American empire. This comprehensive anthology critiques sociology's disciplinary engagement with colonialism in varied settings while also highlighting the lasting contributions that sociologists have made to the theory and history of imperialism.

Contributors. Albert Bergesen, Ou-Byung Chae, Andy Clarno, Raewyn Connell, Ilya Gerasimov, Julian Go, Daniel Goh, Chandan Gowda, Krishan Kumar, Fuyuki Kurasawa, Michael Mann, Marina Mogilner, Besnik Pula, Anne Raffin, Emmanuelle Saada, Marco Santoro, Kim Scheppele, George Steinmetz, Alexander Semyonov, Andrew Zimmerman

Contributors explore diasporic Jewish identities in the post-Holocaust years; the use of sociohistorical analysis in studying the genocide; immigration and transnationalism; and collective action, collective guilt, and collective memory. In so doing, they illuminate various facets of the Holocaust, and especially post-Holocaust, experience. They investigate topics including heritage tours that take young American Jews to Israel and Eastern Europe, the politics of memory in Steven Spielberg’s collection of Shoah testimonies, and the ways that Jews who immigrated to the United States after the collapse of the Soviet Union understood nationality, religion, and identity. Contributors examine the Warsaw Ghetto Uprising of 1943 in light of collective action research and investigate the various ways that the Holocaust has been imagined and recalled in Germany, Israel, and the United States. Included in the commentaries about sociology and Holocaust studies is an essay reflecting on how to study the Holocaust (and other atrocities) ethically, without exploiting violence and suffering.

Contributors. Richard Alba, Caryn Aviv, Ethel Brooks, Rachel L. Einwohner, Yen Le Espiritu, Leela Fernandes, Kathie Friedman, Judith M. Gerson, Steven J. Gold , Debra R. Kaufman, Rhonda F. Levine , Daniel Levy, Jeffrey K. Olick, Martin Oppenheimer, David Shneer, Irina Carlota Silber, Arlene Stein, Natan Sznaider, Suzanne Vromen, Chaim Waxman, Richard Williams, Diane L. Wolf

Contributors. Kenneth Barkin, Nahum Chandler, Ronald Judy, David Krell, Charles Lemert, Sieglinde D. Lemke, Tommy Lott, Kevin Miles, Abdulkarim Mustapha, Ken Warren

Praise for Ariel Dorfman
“One of the most important voices coming out of Latin America.”—Salman Rushdie

“A remarkable writer . . . writing out of a very different cultural perspective from comfortable American readers.”—Digby Diehl, Los Angeles Herald Examiner

“One of the six greatest Latin American novelists.”—Jacobo Timmerman, Newsweek

The dramatic expansion of transracial and transnational adoption since the 1950s, Briggs argues, was the result of specific and profound political and social changes, including the large-scale removal of Native children from their parents, the condemnation of single African American mothers in the context of the civil rights struggle, and the largely invented "crack babies" scare that inaugurated the dramatic withdrawal of benefits to poor mothers in the United States. In Guatemala, El Salvador, and Argentina, governments disappeared children during the Cold War and then imposed neoliberal economic regimes with U.S. support, making the circulation of children across national borders easy and often profitable. Concluding with an assessment of present-day controversies surrounding gay and lesbian adoptions and the struggles of immigrants fearful of losing their children to foster care, Briggs challenges celebratory or otherwise simplistic accounts of transracial and transnational adoption by revealing some of their unacknowledged causes and costs.

Written over the course of seven years and in many locales in Latin America and Europe, the poems in Cantos de vida y esperanza reflect both Darío’s anguished sense of modern life and his ecstatic visions of transcendence, freedom, and the transformative power of art. They reveal Darío’s familiarity with Spanish, French, and English literature and the wide range of his concerns—existential, religious, erotic, and socio-political. Derusha and Acereda’s translation renders Darío’s themes with meticulous clarity and captures the structural and acoustic dimensions of the poet’s language in all its rhythmic sonority. Their introduction places this singular poet—arguably the greatest to emerge from Latin America in modern literature—and his best and most widely known work in historical and literary context. An extensive glossary offers additional information, explaining terms related to modernismo, Hispanic history, mythological allusions, and artists and writers prominent at the turn of the last century.