Art

On Chantal Akerman: Camera Obscura’s 100th Issue

cob_34_1_100_coverCongratulations to Camera Obscura, which just published its 100th issue, “On Chantal Akerman”!

This special issue recognizes the work and legacy of Belgian filmmaker Chantal Akerman (1950–2015), among the world’s most influential filmmakers. Akerman and her film Jeanne Dielman were covered in the first issues of Camera Obscura.

Contributors to this issue include Camera Obscura‘s founding editors Janet Bergstrom and Sandy Flitterman-Lewis, Jeanne Dielman cinematographer Babette Mangolte, leading Akerman scholars Maureen Turim and Ivone Margulies, film editor Claire Atherton, and composer and cellist Sonia Wieder-Atherton, among many others.

Browse the table of contents and read the introduction, freely available.

Mourning the Passing of Okwui Enwezor

The Nigerian Okwui Enwezor, the designated director of the Haus der Kunst in Munich. The picture shows him at his presentation, eight months before the start of service (01.10.2011).

Sueddeutsche Zeitung Photo / Alamy Stock Photo

We are deeply saddened to learn of the death of art critic and curator Okwui Enwezor, who co-edited our book Antinomies of Art and Culture and contributed to Other Cities, Other Worlds. He was also co-founder and co-editor of our journal Nka: Journal of Contemporary African Art.

The first African-born director of the Venice Bienniale art exhibition and the first non-European curator of the Documenta art exhibition, Enwezor promoted through his works a more globalized world of contemporary art and art history. His chapter in Other Cities, Other Worlds, “Mega-exhibitions: The Antinomies of a Transnational Global Form,” begins,

“In the last few years a new figure of discourse, one that seeks to analyze the impact of global capitalism and media technology on contemporary culture, has asserted that the conditions of globalization produce new maps, orientations, cultural economies, institutional networks, identities, and social formations, the scale of which not only delimits the distance between here and there, between West and non-West, but also, by the depth of its penetration, embodies a new vision of global totality and a concept of modernity that dissolves the old paradigms of the nation-state and the ideology of the ‘center,’ each giving way to a dispersed regime of rules based on networks, circuits, flows, interconnections.”

Antinomies_of_Art_and_Culture_coverIn Antinomies of Art and Culture, Enwezor’s chapter, “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition,” considers that modern art occupies an intersection between imperial and postcolonial discourses. “Any critical interest in the exhibition systems of Modern or contemporary art requires us to refer to the foundational base of modern art history,” he writes. “Its roots in imperial discourse, on the one hand, and, on the other, the pressures that postcolonial discourse exerts on its narratives today.”

In 1994, Enwezor co-founded Nka, leading the journal as co-editor and writing the introduction of the first issue, now freely available here for one year. Nka publishes critical work that examines contemporary African and African Diaspora art within the modernist and postmodernist experience. Since its inception, it has contributed significantly to the intellectual dialogue on world art and the discourse on internationalism and multiculturalism in the arts.

Looking back on Enwezor’s work, Duke University Press Editorial Director Ken Wissoker reflects that they “literally redefined the field.”

“The phrase “another world is possible,’ is used to keep people hopeful, imagining that things could be different,” Wissoker continues. “In his too short life, Okwui Enwezor actually made another world possible. In exhibition after exhibition and book after book, he showed us all a different and more global art history, art present, and art future.”

We send our sympathy to Enwezor’s family, friends, and colleagues. Joining them in remembering such a prominent and revolutionary figure in the art world, we echo Wissoker’s sentiments:

“We have lost him far too young at 55. He had so much more to teach and show us. Brilliant and kind, he leaves the rest of us a lot to do in his wake.”

Remembering Carolee Schneemann

We are sorry to learn of the death of feminist artist Carolee Schneemann, best known for her performance pieces Meat Joy and Interior Scroll. Several of our books feature or engage with Schneemann’s innovative and influential work.

978-0-8223-4511-4_prIn 2010 we published Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle, edited by Duke University Professor of Art Kristine Stiles. The book collects correspondence between Schneemann and those she called “her tribe,” including composer James Tenney, the filmmaker Stan Brakhage, the artist Dick Higgins, the dancer and filmmaker Yvonne Rainer, the poet Clayton Eshleman, and the psychiatrist Joseph Berke.

Our 2000 book M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism features an interview with Schneemann by Aviva Rahmani. In the interview, about the censorship of her work, Shneemann says, “My work within erotic and political taboos has been fueled by the constraints of sexism, but my work has offended both men and women, and been defended by both women and men; my work has offended granting agencies and institutions, and been supported by granting agencies and institutions. I like the margins to slip on . . . the uncertainty. From the margins I’ve been free to attack, to sniff out the leaking repressions and denial of subordination.”

The 2007 collection Women’s Experimental Cinema contains an article by M.M. Serra and Kathryn Ramey entitled “Eye/Body: The Cinematic Paintings of Carolee Schneemann,” which begins with a quote from Schneemann: “I’m still a painter and I will always be in essence a painter. . . . Painting doesn’t have to mean that you’re holding a brush in your hand. It might or it might not. It might be a camera. It might be a microphone. It might be your own body that when you go inside the frame and when you adjust your focus you see that the materiality of what you’re working with might include yourself in a force
field.” The authors analyze Schneeman’s use of her own body in her art. They conclude, “Carolee Schneemann persistently enacts the ‘eye/body,’ the seeing, active artist agent and continues to make work that challenges convention and expands our understanding of what painting, performance, and film are or can be.”

Kristine Stiles says, “Carolee Schneemann’s legacy will remain vibrant in her consummately original work. It was a privilege to be her friend for some forty years, however tumultuous. I will miss our regular Sunday telephone calls, her brilliant mind, lively sense of humor, and intrepid devotion to art.”  We join Stiles in mourning this important artist.

New Books in March

Spring brings a fresh crop of new books. Check out what’s new in March.

The Politics of Operations, edited by Sandro Mezzadra and Brett Neilson, investigates how capital reshapes its relation with politics, showing how contemporary capitalism operates through the extraction of mineral resources, data, and cultures; the logistical organization of relations between people, property, and objects; and the penetration of financialization into all realms of economic life.

Zorach cover with border low resIn Art for People’s Sake Rebecca Zorach traces the little-told story of the Black Arts Movement in Chicago, showing how its artistic innovations, institution building, and community engagement helped the residents of Chicago’s South and West Sides respond to social, political, and economic marginalization.

Drawing on previously unexamined archives, the contributors to The Revolution from Within, edited by Michael Bustamante and Jessica Lambe, examine the Cuban Revolution from a Cuba-centric perspective by foregrounding the experience of everyday Cubans in analyses of topics ranging from agrarian reform and fashion to dance and the Mariel Boatlift.

978-1-4780-0380-9.jpgIn Hush Mack Hagood outlines how noise-cancelling headphones, tinnitus maskers, white noise machines, nature-sound mobile apps, and other forms of media give users the ability to create sonic safe spaces for themselves, showing how the desire to block certain sounds are informed by ideologies of race, gender, and class.

In Thought Crime Max Ward explores the Japanese state’s efforts to suppress political radicalism in the 1920s and 1930s through the enforcement of what it called thought crime, providing a window into understanding how modern states develop ideological apparatuses to subject their respective populations.

In Breaking Bad and Cinematic Television, Angelo Restivo uses the innovative show Breaking Bad as a point of departure for theorizing a new aesthetics of television in which the concept of the cinematic points to the ways in which television can change the ways viewers relate to and interact with the world.978-1-4780-0092-1.jpg

Examining the work of writers and artists including Carrie Mae Weems, Langston Hughes, Toni Morrison, and Allan deSouza, in The Difference Aesthetics Makes Kandice Chuh advocates for what she calls “illiberal humanism” as a way to counter the Eurocentric liberal humanism that perpetuates structures of social inequality.

In Surrogate Humanity Neda Atanasoski and Kalindi Vora trace the ways in which robots, artificial intelligence, and other technologies serve as surrogates for human workers within a labor system that is entrenched in and reinforces racial capitalism and patriarchy.

In The Afterlife of Reproductive Slavery Alys Eve Weinbaum investigates the continuing resonances of Atlantic slavery in the cultures and politics of human reproduction that characterize contemporary capitalism, showing how black feminist thought offers the best means through which to understand the myriad ways slavery continues to haunt the present.

Eliza Steinbock’s Shimmering Images traces how cinema offers alternative ways to understand gender transitions through a specific aesthetics of change, thereby opening up new means to understand transgender ontologies and epistemologies.

978-1-4780-0091-4.jpgGökçe Günel’s Spaceship in the Desert examines the development and construction of Masdar City, a zero-carbon city built by Abu Dhabi that houses a research institute for renewable energy which implemented a series of green technologies and infrastructures as a way to deal with climate change and prepare for a post-oil future.

In Developments in Russian Politics 9 an international team of experts provide a comprehensive and critical discussion of the country’s most recent developments, offering substantive coverage of the key areas in domestic and foreign Russian politics, perfect for courses on Russia today.

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Global Black Consciousness

The most recent issue of Nka: Journal of Contemporary African Art, “Global Black Consciousness,” edited by Margo Natalie Crawford and Salah M. Hassan, is now available.

nka_2018_42-43_coverThis special issue aims to open up and complicate the key paradigms that have shaped the vibrant work on theories and cultural productions of the African diaspora. Contributors offer a critical and nuanced analysis of global black consciousness as both a citing of diasporic flows and a grounded site of decolonizing movement. As a result, the issue pushes the abundant current scholarship on the African diaspora to another dimension—the edge where we think about both the problem and promise of mobilizing “blackness” as a unifying concept.

Browse the table of contents and read the introduction, made freely available.

How Partnerships with Museums Help Build a Strong Art List

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Welcome to the University Press Week blog tour! This year’s theme is #TurnItUP, offering posts that show how the university press community amplifies voices, disciplines, and communities. We’re pleased to be a part of Arts & Culture day with a post about how our partnerships with art museums amplify their work and help us build a strong art list. See the other great posts on the tour at the end of this post.

978-0-938989-42-4Duke University Press has long has a strong list in art and art history, and since the mid-2000s, that list has included a number of museum catalogs. Our earliest museum partner is the Nasher Museum of Art at Duke University. Since they opened in 2005, we have distributed many catalogs for them, including Barkley L. Hendricks: Birth of the Cool (2008), The Record (2010), Wangechi Mutu: A Fantastic Journey (2013), Southern Accent (2016), and most recently, Pop América, 1965–1975 (2018). The Nasher Museum’s mission to collect and display works by diverse artists who have been historically underrepresented, or even excluded, by mainstream arts institutions also fits with our own acquisition editors’ focus. “Duke Press has been a wonderful partner since the Nasher Museum opened in 2005,” said Sarah Schroth, Mary D.B.T. and James H. Semans Director of the Nasher Museum. “The Duke Press team has provided invaluable help in distributing our exhibition catalogues to art museums, book fairs and book critics around the country.”

Modern Art in the Arab WorldWorking with the Nasher Museum helped us build a reputation as a strong distributor of museum catalogs. In 2010 we began a partnership with the Museum of Modern Art (MoMA) to distribute their Primary Documents series. Although sometimes associated with an exhibition, these titles are not catalogs but instead teaching and researching tools featuring primary documents associated with a particular artist or region, that often have never been available in English. The first volume we distributed was Contemporary Chinese Art (2010), and more recently we have distributed Modern Art in the Arab World (2018) and Art and Theory of Post-1989 Central and Eastern Europe (2018). These titles are a good fit with our area studies lists as well as our art list, and we can use our expertise in course adoption marketing to help MoMA reach a wider teaching audience.

Michael McCullough, Senior Manager for Books Marketing and Sales, says, “Marketing, selling, and distributing books from major museums is very helpful in raising our profile with museum shops and art buyers. We only distribute books that complement our own books and journals publishing programs; so whether a distributed title came from MoMA or the Black Mountain College Museum + Arts Center, it will look at home in the Duke University Press catalog.”

We Wanted a Revolution 2Recently we have undertaken collaborations with the Museum of Latin American Art  and the Chinese American Museum, with catalogs that were part of the Pacific Standard Time LA/LA collaboration. We were also excited to partner with the Brooklyn Museum on their exhibition We Wanted a Revolution: Black Radical Women, 1965–85. We distributed a Sourcebook for the exhibition that features an array of rare and little-known documents from the period by artists, writers, cultural critics, and art historians as well as a second volume of New Perspectives, containing original essays and perspectives that place the exhibition’s works in both historical and contemporary contexts.

Begin to SeeCurator Julie J. Thomson, author of Begin to See: The Photographers of Black Mountain College, a catalog for her exhibition at the Black Mountain College Museum + Arts Center says, “After spending years researching an exhibition which is up for a limited time, the exhibition catalog reaches beyond who could visit the museum, and is what remains. Duke University Press’s distribution of the catalog for Begin to See allowed museum bookstores and art libraries to know about it and order it. It’s reassuring to know that future scholars will be able to access my research and writing through the catalog held in library collections throughout the world.”

Editorial Director Ken Wissoker agrees that publishing catalogs is useful for acquisitions. “Whether it is the Black feminist show We Wanted a Revolution from the Brooklyn Museum or The Record from the Nasher Museum, museum catalogs are a crucial part of our list, even beyond the areas in the arts where one expects them to contribute.  We have authors writing for the catalogs and others bringing their books to us because they loved the catalogs on our list. This is a great crossover moment between art and critical thinking, and the catalogs could not play a more important role in that exchange.”

Please continue on the University Press Week blog tour by visiting these other great university press offerings: Athabasca University Press offers a playlist by author Mark A. McCutcheon of all the songs featured in his book The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology. Rutgers University Press dedicates a post to our their book Junctures in Women’s Leadership: The Arts by Judith Brodsky and Ferris Olin. Over at Yale University Press, check out a post by author Dominic Bradbury about how immigrants enrich a country’s art and architecture. University of Minnesota Press is running a post about their author Adrienne Kennedy, who will be inducted into the Theater Hall of Fame on Nov. 12th. Hope you enjoy all these great #TurnItUP posts! 

Preview our Spring 2019 Catalog

S19-catalog-front-coverOur Spring 2019 catalog is here! Check out some highlights below and download the complete catalog for a more in-depth look. These titles will be published between January and June 2019.

The cover of the catalog is a photograph by Rotimi Fani-Kayode, the subject of the book Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s (March) by W. Ian Bourland. Bloodflowers launches a new series, The Visual Arts of Africa and its Diasporas, edited by Kellie Jones and Steven Nelson. And it’s just one of many great new art titles in this catalog. You’ll also want to check out Suzanne Preston Blier’s Picasso’s Demoiselles (June), an examination of the previously unknown origins of a well-known painting. And in Surrealism at Play (February) Susan Laxton writes a new history of Surrealism in which she traces the centrality of play to the movement and its ongoing legacy. We’re especially excited about The Romare Bearden Reader (May) edited by Robert G. O’Meally. It brings together a collection of new essays and canonical writings by novelists, poets, historians, critics, and playwrights. The contributors include Toni Morrison, Ralph Ellison, August Wilson, Farah Jasmine Griffin, and Kobena Mercer. We’ve also got Rebecca Zorach’s Art for People’s Sake (March), which looks at the Black Arts Movement in Chicago; and Chicano and Chicana Art: A Critical Anthology  (February), which provides an overview of the history and theory of Chicano/a art from the 1960s to the present.

Deported AmericansTimely books on immigration will definitely add context to current debates. In Deported Americans (April), legal scholar and former public defender Beth C. Caldwell tells the story of dozens of immigrants who were deported from the United States—the only country they have ever known—to Mexico, tracking the harmful consequences of deportation for those on both sides of the border. And in The Fixer (June), Charles Piot follows a visa broker—known as a “fixer”—in the West African nation of Togo as he helps his clients apply for the U.S. Diversity Visa Lottery program. For a look at the immigrant experience through poetry, check out The Chasers (May), in which Renato Rosaldo shares his experiences and those of his group of twelve Mexican-American Tucson High School friends known as the Chasers as they grew up, graduated, and fell out of touch. Rosaldo’s poems present a chorus of distinct voices and perspectives that convey the realities of Chicano life on the borderlands from the 1950s to the present.

The Hundreds by Lauren Berlant and Kathleen Stewart will delight fans of theory, ethnography, and experimental writing alike. The book, composed of pieces one hundred or multiples of one hundred words long—is their collaborative experimental writing project in which they strive toward sensing and capturing the resonances that operate at the ordinary level of everyday experience.

Activists will be excited to learn that we are bringing out a new, revised and expanded edition of Aurora Levins Morales’s Medicine Stories (April). She weaves together the insights and lessons learned over a lifetime of activism to offer a new theory of social justice, bringing clarity and hope to tangled, emotionally charged social issues in beautiful and accessible language.

Book ReportsIf you enjoy critic Robert Christgau’s writing on music (his collection Is It Still Good to Ya? came out this fall), you’ll definitely want to check out his book reviews, collected together in Book Reports (April). Christgau shows readers a different side to his esteemed career with reviews of books ranging from musical autobiographies, criticism, and histories to novels, literary memoirs, and cultural theory.

We’re also pleased to present new books from returning authors Jane Gallop, Elspeth Brown, Jennifer C. Nash, and Kandice Chuh, among others, as well as a new edition of The Cuba Reader, long a bestseller for courses and travelers.

These are just a few of the great titles coming out next spring. We have over seventy titles in cultural studies, art, sound studies, Latin American studies, history, Asian studies, African studies, religion, American studies, and more. You’ll want to read and download the whole thing to see all the great new books and journals. To be notified of new books in your chosen disciplines, sign up for our email alerts, too.

 

 

Trans*historicities

The most recent issue of TSQ: Transgender Studies Quarterly, “Trans*historicities,” edited by Leah DeVun and Zeb Tortorici, is now available.

coverimageThis issue offers a theoretical and methodological imagining of what constitutes trans* before the advent of the terms that scholars generally look to for the formation of modern conceptions of gender, sex, and sexuality. What might we find if we look for trans* before trans*? While some historians have rejected the category of transgender to speak of experiences before the mid-twentieth century, others have laid claim to those living gender-non-conforming lives before our contemporary era. By using the concept of trans*historicity, this volume draws together trans* studies, historical inquiry, and queer temporality while also emphasizing the historical specificity and variability of gendered systems of embodiment in different time periods.

Essay topics include a queer analysis of medieval European saints, discussions of a nineteenth-century Russian religious sect, an exploration of a third gender in early modern Japanese art, a reclamation of Ojibwe and Plains Cree Two-Spirit language, and biopolitical genealogies and filmic representations of transsexuality. The issue also features a roundtable discussion on trans*historicities and an interview with the creators of the 2015 film Deseos. Critiquing both progressive teleologies and the idea of sex or gender as a timeless tradition, this issue articulates our own desires for trans history, trans*historicities, and queerly temporal forms of historical narration.

Browse the table of contents and read the introduction, made freely available.

New Books in November

November is a huge book release month! Check out all the great new titles coming out this month. Many of them will be making their debuts at the academic conferences that are happening this month. Be sure to stop by our booths at the American Studies Association, the National Women’s Studies Association, the African Studies Association, the American Academy of Religion, and the American Anthropological Association, where you can pick up these and other titles for only $20 each.

In My Butch Career, Esther Newton—a pioneer figure in gay and lesbian studies—tells the compelling and disarming story of her struggle to write, teach, and find love, all while coming to terms with her lesbian identity during one of the worst periods of homophobic persecution in the twentieth century.

978-1-4780-0129-4Collective Creative Actions, edited by Ryan Dennis, highlights the twenty-five-year history of Project Row Houses in Houston’s Third Ward by addressing the idea of social practice through its five pillars of art, education, social safety nets, architectural preservation, and sustainability.

In How Art Can Be Thought Allan deSouza examines the popular terminology through which art is discussed, valued, and taught, showing how pedagogical language and practices within art schools can adapt to a politicized and rapidly changing world, as well as to the demands of contemporary art within a global industry.978-1-4780-0047-1

More than fifty years after the publication of C. L. R. James’s classic Beyond a Boundary, the contributors to Marxism, Colonialism, and Cricketedited by David Featherstone, Christopher Gair, Christian Høgsbjerg, and Andrew Smith, investigate its production and reception and its implication for debates about sports, gender, aesthetics, race, popular culture, politics, imperialism, and Caribbean and English identity.

978-1-4780-0022-8.jpgFeaturing work spanning six decades, Robert Christgau’s Is It Still Good to Ya? sums up the career of legendary rock critic and longtime Village Voice stalwart Robert Christgau, whose album and concert reviews, essays, and reflections on his career tackle the whole of pop music, from Louis Armstrong to M.I.A..

In Best Practice, Kimberly Chong offers a rich ethnographic account of how a global management consultantcy translates and implements the logic of financialization in contemporary China.

Dai Jinhua’s After the Post–Cold War interrogates history, memory, and the future of China as a global economic power in relation to its Cold War past to show how the recent erasure of the country’s socialist history signifies socialism’s failure and forecloses the imagining of a future beyond that of globalized capitalism.

In After Ethnos, Tobias Rees proposes an understanding of anthropology as a philosophically and poetically oriented and fieldwork-based investigation into the human and human thought rather than a study of culture or society in which anthropology is synonymous with ethnography and fieldwork.978-1-4780-0035-8.jpg

In Unruly Visions, Gayatri Gopinath traces the interrelation of affect, aesthetics, and diaspora through an exploration of a wide range of contemporary queer visual cultural forms by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza.

In None Like Us Stephen Best offers a bold reappraisal of the critical assumptions that undergird black studies’ use of the slave past as an explanatory prism for understanding the black political present, thereby opening the circuits between past and present and charting a queer future for black study.

In An Intimate Rebuke, an ethnography of female empowerment, Laura S. Grillo offers new perspectives on how elder West African women deploy an ancient ritual in which they dance naked and slap their genitals and bare breasts to protest abuses of state power, globalization, witchcraft, rape, and other social dangers.

978-1-4780-0291-8Drawing on numerous examples from popular culture, in Empowered Sarah Banet-Weiser examines the relationship between popular feminism and popular misogyny as it plays out in advertising, online and multi-media platforms, and nonprofit and commercial campaigns, showing how feminism is often met with a backlash of harassment, assault, and institutional neglect.

Aren Z. Aizura’s Mobile Subjects examines transgender narratives about traveling for gender reassignment from 1952 to the present, showing how transgender fantasies about reinvention and mobility are racialized as white and often rely on violent colonial global divisions.

Through global case studies that explore biometric identification, border control, forensics, militarized policing, and counterterrorism, the contributors to Bodies as Evidence, edited by Mark Maguire, Ursula Rao, and Nils Zurawskishow how bodies have become critical sources of evidence that is organized and deployed to classify, recognize, and manage human life.

978-1-4780-0153-9.jpgIn Plan Colombia John Lindsay-Poland examines a 2005 massacre in Colombia, its subsequent investigation, official cover-up, and the international community’s response to outline how the U.S. military’s support for the Colombian Army contributed to atrocities while shaping the United States’s dominant model of military intervention.

Melissa Gregg’s Counterproductive explores the obsession with using productivity as the primary measure of most workers’ sense of value and success in the workplace, showing how it isolates workers from each other while erasing their collective efforts to define work limits.

Drawing on indigenous social movements and politics, contributors to A World of Many Worlds, edited by Marisol de la Cadena and Mario Blaser, question Western epistemologies, theorize new forms of knowledge production, and critique the presumed divide between nature and culture—all in service of creating a pluriverse: a cosmos composed of many worlds partially connected through divergent political practices.

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New Books in October

It’s October and our fall publishing season is in full swing. Check out all the great books coming out this month.

The contributors to The Apartment Complex, edited by Pamela Robertson Wojcik, offer global perspectives on films from a diverse set of genres—from film noir and comedy to horror and musicals—that use apartment living to explore modern urbanism’s various forms and possibilities.

978-1-4780-0130-0In See It Feelingly Ralph James Savarese showcases the voices of autistic readers by sharing their unique insights into literature and their sensory experiences of the world, thereby challenging common claims that people with autism have a limited ability to understand language, to partake in imaginative play, and to generate the complex theory of mind necessary to appreciate literature.

In Channeling the State Naomi Schiller explores how community television in Venezuela created openings for the urban poor to embrace the state as a collective process with the potential for creating positive social change.

978-1-4780-0105-8.jpgJ. Lorand Matory’s The Fetish Revisited casts an Afro-Atlantic eye on European social theory to show how Marx’s and Freud’s conceptions of the fetish illuminate and misrepresent the nature of Africa’s gods while demonstrating that Afro-Atlantic gods have their own social logic that is no less rational than European social theories.

The contributors to the volume Digital Sound Studies, edited by Mary Caton Lingold, Darren Mueller, and Whitney Trettien, explore the transformative potential of digital sound studies to create rich, multisensory experiences within scholarship, building on the work of digital humanists to evaluate and historicize new technologies and forms of knowledge.

Domestication Gone Wild, a collection edited by Heather Anne Swanson, Marianne Elisabeth Lien, and Gro B. Ween, offers a revisionary exploration of domestication as a narrative, ideal, and practice that reveals how our relations with animals and plants are intertwined with the politics of human difference.

978-0-8223-7075-8.jpgIn Paradoxes of Hawaiian Sovereignty J. Kēhaulani Kauanui examines contradictions of indigeneity and self-determination in U.S. domestic policy and international law, showing how Hawaiian elites’ approaches to reforming land, gender, and sexual regulation in the early nineteenth century that paved the way for sovereign recognition of the kingdom complicate contemporary nationalist activism, which too often includes disavowing the indigeneity of indigenous Hawaiians.

James N. Green’s Exiles within Exiles is a biography of the Brazilian revolutionary and social activist Herbert Daniel, whose life and political commitment shaped contemporary debates about social justice, gay rights, and HIV/AIDS.

A Primer for Teaching Women, Gender, and Sexuality in World History, by Merry E. Wiesner-Hanks and Urmi Engineer Willoughby, is a guide for college and high school teachers who are teaching women, gender, and sexuality history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate the subject into their world history classes.

978-0-938989-42-4.jpgPop América, 1965-1975, edited by Esther Gabara, is a bilingual, fully illustrated catalogue that accompanies a traveling exhibition of the same name. Pop América, 1965-1975 presents a vision of Pop art across the Americas as a whole. The exhibition appears at the McNay Museum of Art in San Antonio from October 4, 2018 until January 13, 2019 and then moves to the Nasher Museum of Art at Duke University from February 21 to July 21, 2019. It will finally be featured at the Mary and Leigh Block Museum of Art at Northwestern University from September 21 to December 8, 2019.

In the still-timely twentieth anniversary edition of Written in Stone—which includes a new preface and an extensive afterword—Sanford Levinson considers the debates and conflicts surrounding controversial monuments to public figures throughout the American South and the world.

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