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This book examines the politics of representation in Chinese American literature through cultural history and urban theory. Its central problem: how can Chinese American authors represent their realities when the signs they use have been predetermined by centuries of racist discourse? Popular imaginaries of 'Chinese-ness'-from foodways to 'China-towns'-are sustained by a system of signs that renders 'things-Chinese' exotic, other, and inscrutable, with concrete socio-political consequences for the community's rights and representation.
Early Chinese American writing resisted these discourses through life writing and de-exoticization. Later interventions-such as Chin's hypermasculinized "Chinatown cowboy"-attempted subversion but remained trapped within the same system of signs. The author departs from these approaches by turning to the lived and the everyday. Drawing on Lefebvre's Production of Space, she analyzes Chinatown as a socially produced lived space, reading Jade Snow Wong's "Fifth Chinese Daughter", Shawn Wong's "Homebase" and Fae Myenne Ng's "Bone", and Wayne Wang's "Chan is Missing" as sediments of everyday life that sublate the dominated, mystified spaces of discursive Chinatown.

A unique look at Washington's landmark hotels and its cultural history

Any large city's marquee hotels are a great barometer of its social and cultural life. Washington DC, is exceptional in this regard, because visitors-from officials, diplomats, and lobbyists to everyday tourists-are so critical to the city's essential purpose as the nation's capital. The city's hotels have also been residences for locals and have served as important social centers, hosting events ranging from weddings and concerts to inaugural balls and the White House Correspondents Dinner.

Palaces of the Public is a lively, in-depth, highly illustrated, history and architectural tour of the city's hotels, past and present. John DeFerrari explores the fascinating evolution of hostelries, from the taverns of the eighteenth century, to the boarding houses of the pre-Civil War era, to the creation of the modern hotel. Special chapters address the history of hotels for women, tourist hotels, and hotels run by and for African Americans in the days of segregation. Later chapters highlight the rise of motels in the mid-twentieth century, boutique hotels in recent years, and the impact of historic preservation on saving old hotel buildings.

Readers interested in Washington's history, architecture, and historic preservation will be drawn to this book, with its unique perspective on how the city's culture and society developed over time.

Amid the rise of seductive, present-tense goods, the obsolete names what the present cannot assimilate: a forgotten one-hit-wonder, a now-unacceptable remark, or a teenage memory too awkward to reclaim. Yet it is precisely through these encounters with obsolete attachments that a different experience of time becomes possible. Discarded Selves shows that obsolescence is not only a condition imposed on objects and media but a temporal and affective logic internalized within the self. In cultures driven by disposability and the imperative to remain up-to-date, we continually shed former attachments, affects, and versions of ourselves. But these discarded selves persist: they return as intimate, time-stamped remnants that unsettle the fantasy of a seamless present.

Through close readings across literature, film, digital culture, and everyday practices - from decluttering and ragpicking to the disquieting experience of unexpectedly running into an ex or confronting long-forgotten diary entries - Discarded Selves shows how narratives grapple with past material that no longer fits yet refuses to disappear. These moments expose a discontinuity at the core of contemporary selfhood, where the obsolete becomes a site for thinking temporal rupture. When the past is either neglected or recycled into the present, encounters with the obsolete bring our temporal and material others into view in that intimate moment of "no longer."

This open access book provides a comprehensive exploration of research infrastructures (RIs) for open social science research, drawing on the case study of the FOSSR project. It covers the theoretical foundations, policy contexts, and FAIR data principles, before diving into the FOSSR project's research areas, governance, and capacity building strategies. The final sections focus on computational social science, collaborative research models, and future challenges in open science. With its interdisciplinary perspective and actionable insights, this book serves as a useful resource for researchers, policymakers, and data scientists working in the realm of open social science.

This book is a comparative study of the rap scenes in Greece and America, and provides one of the first English-language studies of Greek hip hop culture. Focusing mainly on the analysis of lyrics, the book addresses issues of gender, class and race. Putting these lyrics in the broader context of white supremacist capitalist patriarchy, the book situates Greek and American hip hop scenes in the context of phenomena such as the prison-industrial complex, police violence, and Black Lives Matter. The book also provides a history of hip hop in Greece.

This volume offers a bold re-examination of the representation of women in the work of Miguel de Cervantes by highlighting the role of perversity. Bringing together historicist, psychoanalytic, feminist, and queer perspectives, the essays analyze how Cervantes' narratives construct scenes of sexual violence, objectification, and female suffering while perversely inviting the reader's complicity in their consumption. Through readings of Don Quijote, the Novelas ejemplares, and other works, contributors challenge the long-standing view of Cervantes as a proto-feminist author. Instead, they reveal how his fiction often transforms women's vulnerability into narrative spectacle, exposing the troubling dynamics of power, gender, and pleasure embedded in the Cervantine aesthetic.

How does tropicality - a concept historically rooted in colonial thought - shape colonial media and society? Thinking cinematically through a framework of tropicality - a constellation of ideas including forest, heat, humidity, miasma, microbes, logistics, labor, infrastructure, extraction, and animism - Nadine Chan demonstrates how colonial cinema created ambient spaces that enabled colonial power to take root and endure - as well as to wear away and break down. Beginning in the 1920s and continuing beyond British Malaya's independence in 1957, colonial filmmakers sought to transform Malaya's tropical landscape - long deemed unruly, excessive, and dangerous - into arenas of modernity and capital. In equatorial rainforests, rubber plantations, tin mines, villages, and more, colonial governments deployed open-air cinemas as ambient infrastructures of power - environ-mental surrounds that were at once elemental, atmospheric, cognitive, and affective. Weaving these cinematic environments within non-technological media landscapes that include architecture and urban design, supply-chain logistics, and more-than-human spirit networks in local animist cosmologies, Chan demonstrates how the colonial tropics calls for expanded understandings of media worlds. Meanwhile, phenomena such as floods and fungi, mountain spirits and mechanical failure, bacterial infections and militant insurgencies emerge as possibilities for counter-colonial attrition. Drawing on multi-modal methodologies including original archival research, film analysis, oral histories, on-site film screenings, and forest hikes as topographic memory-making, Chan develops an innovative theoretical and historiographical framework for thinking about media environments across multiple fields in media studies.

The violence of the cinematic cut in twentieth-century Latin American film

Splice, montage, close-up: modern cinema routinely presents bodies in pieces. Not unlike the guillotine, argues Thomas Matusiak, these techniques have served both overt and symbolic political ends as they accomplish and project the efficient production of severed bodies. In The Visual Guillotine, Matusiak traces the use of cinematic tools of dismemberment in twentieth-century Latin American film to theorize the symbolic and material violence of the cut.

A robust genealogy of Latin American cinematic politics, The Visual Guillotine encompasses national filmmaking traditions; radical and reactionary political registers; and the proliferated aesthetics of narrative, documentary, experimental, and expanded cinema through an innovative critical viewing practice. From the national cinemas of the 1930s to the decapitation videos produced in the Mexican narco-conflict and beyond, Matusiak shows how the cinematic cut has been employed to inspire terror as well as invoke and critique a range of political programs.

A refreshing dialogue between film theory and Latin American cultural studies, The Visual Guillotine offers a new way for film to conceptualize politics. In our present political moment, with rapidly generated and circulated visual media central to a resurgent leftist-populist battle against oligarchy and authoritarianism, this book calls for readers to reassess their viewing position when confronted with violent imagery.

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How media production and fan play interact to shape the aesthetics of a global anime franchise

Since its debut in 1984, Dragon Ball has become one of the most popular, influential, and lucrative global media franchises in the world. In Next Time on Dragon Ball, Vincent Haddad investigates how the franchise has maintained huge global demand despite its formulaic plotlines. Examining its exhaustive repetition of storytelling forms across comics, TV series, games, and merchandise, Haddad argues that the convergence of play, fandom, and narrative made Dragon Ball an unlikely success-and a harbinger of broader shifts in the media landscape of franchises from the 1980s to the present.

Haddad conceives of Dragon Ball as a "franchise toy," a corporate media property that is constantly remixed by its fans in ways that its owners resist but also ultimately embrace: appropriation is essential to the franchise's popularity. Over the past forty years, Haddad argues, Dragon Ball's deployment of familiar tropes, cultural references, and narrative forms-from classical Chinese stories and the films of Bruce Lee and Jackie Chan to American franchises like Superman and Star Wars-has invited unique transcultural play. Through diverse examples of how fans use its characters as "playthings," Haddad shows how Dragon Ball travels across international networked fandoms, highlighting the queer, gendered, and racialized dimensions of this play.

Parsing the dynamics of "sites of conflict" between authorized media and fan content, Next Time on Dragon Ball illuminates how fan engagement across the Americas changes the parameters of what a manga and anime franchise is and can be.

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In Music at the Margins of Sense, Jessica A. Holmes contests prevailing misconceptions associated with deafness and hearing in Western music by turning to the musical experiences of deaf, hard-of-hearing, and hearing disabled musicians in order to impart a multisensory, multimodal conception of music and musicianship. Through a range of examples drawn from music history, popular music, recent film, and popular science, Holmes reveals that "deafness" is mistakenly understood as a state of total silence and heightened tactile sensation, a stigmatizing trope she calls the "figure of deafness."

Holmes explores music-making spanning auditory, visual-spatial, vibrotactile, and non-sonorous modalities, including the creative practice of Christine Sun Kim, all-deaf electronic dance music raves, the musical experiences of hearing aid users, and music and musical instruments devised to mitigate tinnitus and hyperacusis. By examining the cultural production of "natural" hearing in the design, branding, and musical programming of digital hearing aids, Holmes offers a reappraisal of hearing that defies naturalized perceptual processes and auditory thresholds, the idealization of sonic fidelity, and biologically driven conceptions of musicality. Music at the Margins of Sense champions an understanding of musicianship that embraces the lived experience of disability as a vital locus of musical creativity and expertise.

Modern sociology and modern socialism were born at the same time and developed in conversation with each other - a link that is obvious in the work of Marx, but also visible in that of Durkheim, Weber, and Du Bois, among others. However, the extent of this overlap is yet to be fully realized. Theories of Emancipation: Sociology and Socialism at the turn of the Twentieth Century uncovers this relationship to argue that the concepts, questions, and theories that are foundational to the discipline emerged in conversation with, and in reaction to, the political and intellectual movements of the turn of the twentieth century socialist left.

Aaron Major argues that paying attention to the early influence of socialism on the discipline opens a new pathway for advancing central debates around personhood and agency. This book places canonical texts within their broader political and intellectual context, and in so doing offers novel insight into some of the discipline's most pressing concerns. A reimagining of sociology's history also informs current conversations about its future trajectory by reasserting its aspirations to higher, moral ends. Theories of Emancipation recovers a relationship between social science and human emancipation that has largely been displaced or forgotten.

A critical examination of the digital imagery and visualization tools that mediate urban life

Animated Urbanism explores the ways urban life is increasingly mediated by digital visualization tools, from elaborate marketing productions to specialized techniques of urban planning that rely on the collection of large datasets. By developing a critical vocabulary for these forms of digital imagery, Gillian Rose investigates the implications of using digital technology to manage the spatial and temporal organization of life in cities.

Pushing back against the so-called smartness mandate, which sees urban existence and its infrastructure as necessarily governed by big data, automation, and artificial intelligence, Animated Urbanism is a nuanced examination of the various types of media structuring urban life and their propensity to replicate highly gendered and racialized forms of human embodiment. From smartphone apps to special effects in movies to sophisticated "fly-through" videos of cities created by urban developers, Rose analyzes the corporate imaginaries that are being created, building on the influential theories of Donna Haraway, among others, concerning the interrelation of technology, power, and human life.

While recent digital analysis often focuses on the political economy of tech platforms or the efficacy of data in smart cities, Rose emphasizes the role of human subjectivity in the shifting configurations of these new urban landscapes. With an incisive, feminist approach to the imagery enabled by software and handheld devices, Animated Urbanism invites us to question how human life emerges from these complex entanglements of technology and visual culture.

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This book examines how the media construct and develops the image of the ethnic Other, considering the Roma in Bulgaria, and the Gypsies, Roma and Travellers (GRT) in the UK. In comparing the discourses of the national media in these two different countries, it focuses on concepts such as ethnic identity, othering, and anti-Gypsyism, which are used as the basis for all the devices used in the media discourses of Bulgaria and the UK.

The book draws from analysis done on a comparative basis, outlining the similarities as well as the differences in the perceptions of the two media discourses on these communities. Furthermore, the book provides a diachronic perspective in comparing the media presentations on RGT communities from during the Covid-19 period to those featured at the beginning of the century (2001-2005). It is relevant to scholars and students in media and discourse studies, ethnic studies, sociology, and European cultural studies.

In recent years, the term "mission-driven" has become so ubiquitous, it is difficult to determine what organizations are not mission-driven. Its ubiquitousness signals something important, however: that we expect organizations to be moral actors that hold beliefs.

In this book, Sorcha A. Brophy describes organizational politics that occur around the creation of policies on hot button topics like gay marriage, racial diversity, and abortion, arguing that regardless of whether or not members of organizations abide by ethics standards, the creation of these standards matters a great deal. Rather than serving primarily as a resource for guiding daily practice, organizational ethics standards are chiefly important because their creation (or adjustment) provides opportunities for organization members to engage with an imagined moral infrastructure. By creating and repairing ethics standards, members are able to understand their actions as guided by a systematic design and undergirded by stable principles.

In practice, these moral infrastructures are not actually comprehensively designed, or truly stable. Consequently, there is ongoing work that organizations must engage in to repair perceived inconsistencies in the moral infrastructure. Brophy shines a light on this backstage work done by "custodians" at the center of organizations to maintain, and repair underlying moral infrastructures.

This new edition is fully updated to include new data from the intervening 10 years, integrate current literature, incorporate additional figures and tables, and feature scientometric keyword analysis supported by visual diagrams.

This book investigates the spatial relations between digital media and society, relying on Marshall McLuhan's probes into the effects of communication technology. It argues that McLuhan's ideas may be relevant to understanding how contemporary space, digital media, and society adapt to one another. This aim is pursued in three steps. First, McLuhan's media theory is discussed with a focus on the effects of media in structuring the conditions of space perception at both the individual and the social levels. The concepts of visual and acoustic space are examined in relation to mechanical and electric media, respectively. Second, McLuhan's lifelong interest in the city as a learning environment is contrasted with his claim that cities are obsolete vis-a-vis the global village of instant electronic communication. The contradiction is more apparent than real, as McLuhan imagined a future for cities as programmed environments for the sensory training of citizens and actively engaged in discussions with urban planners and designers. Third, McLuhan's insights are extended beyond his time to make sense of the current relationship between digital media, space, and urban society. The evolution of cyberspace from a virtual realm to its hybridisation with physical space is traced across both literary and scholarly sources. The effects of a hybrid space concept on urban planning and design approaches in the digital age are explored. McLuhan's legacy, with its humanistic breadth, enables an understanding of the present media ecology that moves beyond the efficiency-oriented paradigm of the smart city discourse. The book bridges technological consciousness and social responsibility in the fields of space theory and spatial planning. It targets an audience that is open to interdisciplinary dialogue between science and the humanities to promote sustainable cities and communities.

The first book ever on how the press covered the Gettysburg campaign, From Blood to Ink chronicles the rise of the press through the Civil War and how its coverage of Gettysburg not only misled the people of two warring factions but also misshaped the battle's meaning for generations to come. As Matthew J. Larson reveals, newsmen on both sides transformed the battle into what they needed it to be rather than what it truly was. While the Northern press elevated Gettysburg into America's Waterloo, the Southern press polished it into another hard-won success for Confederate General Robert E. Lee. In both cases, facts bent to bias, narrative eclipsed reality, and Gettysburg itself became the final casualty.

This essential work collects Susan Taubes's philosophical and critical writings, establishing her as one of the most remarkable philosophical minds of the 20th century. At the centerpiece of the volume is Susan Taubes's dissertation on Simone Weil, "The Absent God", and also included are her previously published essays and reviews on Weil, Heidegger, Jean Genet and Albert Camus, as well as an unpublished fragment on Franz Kafka. Taken together, these rigorously philosophical works show Taubes to be a thinker preoccupied with seeking out a lexicon - of myth and symbol, image and narrative - by which to articulate the conundrum of how to live and die in a cosmos saturated with meaning but devoid of divinity. There has been a surge of interest in Taubes following the recent republication of her novels Divorcing and Lament for Julia. With an incisive introduction by Sarah Hammerschlag, this volume provides the necessary supplement to her fictional corpus, tracking Taubes's transformation from philosopher to novelist, while revealing Taubes to be not only an extraordinary literary voice but a profound scholarly one as well.

This edited book provides a structured introduction to the key sociological theorists and theories relevant to understanding the phenomenon of school bullying. Each chapter includes an introduction to the theorist and key concepts, an overview of previous research, an analysis of one or more empirical examples using the concepts, and a discussion of implications and potential for future research. The book will be a much-needed resource for researchers, students and practitioners interested in school bullying from a sociological perspective.

This edited collection aims to identify memories and perceptions of African subjects who lived the process of struggle for independence and the experience of colonial wars, shaping their identity on the negotiation between personal memory and the narrative proposed by official history. It also includes memories of those who have experienced these periods in the colonial metropolis, which allow the contributors to compare the narratives centered on European memories of Africa and what was experienced in the African continent. The book explores how oral culture can become the domestic space of people who had to leave the African continent and had to recreate their identities inside a different society, quite often the colonizers' one, and how their life abroad has been shaped by the recreation of their linguistic social and culture paradigm through the memory of their oral culture.

This book is a collection of contributions by researchers working in various fields of humanities and cultural studies with a focus on the most important contemporary terms needed to understand the Korean Wave (Hallyu) and Korean studies. In recent decades, Hallyu has evolved far beyond the export of Korean popular culture or the commercial success of individual media products. It has become a complex, multilayered cultural formation-one that no longer lends itself to simple explanations. As such, Hallyu persistently raises new questions, inviting scholars to rethink existing frameworks and stimulating fresh intellectual engagements around the world. Twenty-nine researchers across a diverse range of subject areas in the Humanities and Social Sciences have contributed their expertise. Their academic work, conducted across Korea, the United States, Italy, India, Malaysia, the Philippines, Bangladesh, and beyond, lends this volume its breadth and depth. The entries assembled here encompass both the core concepts that currently anchor Hallyu scholarship and the emerging keywords that offer promising avenues for future research.

This work was supported by the Fostering a New Wave of K-Academics Program of the Ministry of Education of the Republic of Korea and the Korean Studies Promotion Service (KSPS) at the Academy of Korean Studies (AKS-2021-KDA-1250004).

This book provides a thorough analysis of the notion of social wrong and the idea of social pathology. It addresses questions such as: What does it mean for something to be socially wrong? Why do social philosophers keep "diagnosing" wrongs as "social pathologies"? And is something a pathology because it is wrong, or is it rather a wrong because it is pathological? By constructing an analytical framework of social wrongs and developing the idea of wrongness-with, the book seeks to support critical social thought. While taking societal and structural injustices seriously as paradigm cases of social wrongs, it also offers a comprehensive elaboration of social pathologies as social wrongs. It provides a map of four conceptions of social pathology and contends that only one of them, organicism, must be completely rejected, while the other views may contribute to a critical understanding of social reality. It further elaborates a "natural-historical" view according to which social pathologies as well as their diagnosis and cure are part and parcel of social life. It tests the usefulness of this conception by examining diagnoses of contemporary capitalism in terms of metabolic rift, economic compulsion, and capitalist cannibalization. These diagnoses exemplify three types of pathologies of social life: pathologies of reproduction, pathologies of transformation, and pathologies of mediating the reproductive and transformative pressures of social life.

How digital technologies entrench state power - and a new vision for resistance

As law enforcement agencies deploy increasingly advanced technologies to suppress dissent, hunt migrants, and target marginalized communities, The Carceral Surround offers a powerful new theory of police and prison power in the digital age. Making sense of the rapid expansion of digital carceral infrastructure in a nation that claims to value freedom and individual rights, R. Joshua Scannell moves beyond familiar debates over privacy to show that understanding digital policing requires confronting the political and racial logics that sustain police power.

Drawing on digital media theory, science and technology studies, critical race and ethnic studies, and carceral theory, The Carceral Surround reveals how twenty-first-century policing is less about managing crime than about governing possibility. Carceral power now operates across every register of daily life through predictive analytics, risk modeling, and algorithmic systems that track, sort, and preempt. From social media archives and facial recognition software to satellite mapping and radiation sensors, Scannell charts how seemingly disparate media converge into an environment of control that links technocratic governance to the maintenance of racial hierarchy and capitalist order.

Tracing today's technoauthoritarian regime from the NYPD's assault on Black Lives Matter protesters in 2020 to the Stop LAPD Spying Coalition's campaign to end predictive policing contracts, The Carceral Surround is a rare hybrid of critique and refusal, illuminating the digital logic of US authoritarianism while imagining pathways for collective resistance beyond its grasp.

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