Podcasts about duke up

Today I talked to Christopher Patterson about two books: the late Y-Dang Troeung's Landbridge [life in fragments] (Knopf Canada, 2023) and Christopher's own Nimrods: A Fake-Punk Self-Hurt Anti-Memoir (Duke UP, 2023), which was published under the name Kawika Guillermo. In Landbridge, Y-Dang Troeung meditates on her family's refugee history and the genocide that has marked the lives of millions of Cambodians like herself. She writes scathingly about how she and her family became the “faces” of Cambodian refugees in Canada, officially welcomed by then prime minister Pierre Elliot Trudeau, her 11-month old face plastered on newspapers as a sign of Canadian benevolence; her return trips to Phnom Penh with her mother and then with her partner Chris are filled with anguish and guilt but also love and friendship. Interspersed with memories of her childhood growing up in Canada – going out in the middle of the night to collect worms for money, enduring the racist attack of neighbors and schoolmates, staying up with her brothers to watch their beloved Montreal Canadiens – she talks about how her research into and deep knowledge about Cambodia is dismissed in academia. As much as it is a reflection on the past, Landbridge is also a missive to the future, a letter from a dying mother to her beloved child. Y-Dang's voice is powerful and raw, her words filled with joy, regret, anger, and love, sometimes within the space of a few sentences. I started reading this book and found that I could not put it down until I had finished it. Nimrods recounts a very different kind of Asian diasporic experience. Guillermo explores the pain of a childhood and adulthood marked by rigidly Christian dictates espoused by a father who was abusive and alcoholic. The alienation that he feels as a brown-skinned, biracial and bisexual person within his own family is echoed by the racism that he experiences living in the United States. His attempts to flee that past lead to a life of travel outside of the United States. Guillermo challenges the reader with a reading surface in which text and white space are in uneven relation to each other – words or letters fade in or out, the order in which you're supposed to read is unclear, images are interspersed with text – but the difficulty of the text and the difficult emotions that it depicts seemed to me to ultimately be a rumination on the nature of community and forgiveness. Julia H. Lee is professor of Asian American Studies at the University of California, Irvine. She is the author of three books: Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937 (New York University Press, 2011), Understanding Maxine Hong Kingston (University of South Carolina Press, 2018), and The Racial Railroad (New York University Press, 2022). With Professor Josephine Lee, she is co-editor of Asian American Literature in Transition, 1850-1930 (Cambridge University Press, 2021), a Choice Outstanding Academic Title for 2022. You can find her on Twitter @thejuliahlee. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Today I talked to Christopher Patterson about two books: the late Y-Dang Troeung's Landbridge [life in fragments] (Knopf Canada, 2023) and Christopher's own Nimrods: A Fake-Punk Self-Hurt Anti-Memoir (Duke UP, 2023), which was published under the name Kawika Guillermo. In Landbridge, Y-Dang Troeung meditates on her family's refugee history and the genocide that has marked the lives of millions of Cambodians like herself. She writes scathingly about how she and her family became the “faces” of Cambodian refugees in Canada, officially welcomed by then prime minister Pierre Elliot Trudeau, her 11-month old face plastered on newspapers as a sign of Canadian benevolence; her return trips to Phnom Penh with her mother and then with her partner Chris are filled with anguish and guilt but also love and friendship. Interspersed with memories of her childhood growing up in Canada – going out in the middle of the night to collect worms for money, enduring the racist attack of neighbors and schoolmates, staying up with her brothers to watch their beloved Montreal Canadiens – she talks about how her research into and deep knowledge about Cambodia is dismissed in academia. As much as it is a reflection on the past, Landbridge is also a missive to the future, a letter from a dying mother to her beloved child. Y-Dang's voice is powerful and raw, her words filled with joy, regret, anger, and love, sometimes within the space of a few sentences. I started reading this book and found that I could not put it down until I had finished it. Nimrods recounts a very different kind of Asian diasporic experience. Guillermo explores the pain of a childhood and adulthood marked by rigidly Christian dictates espoused by a father who was abusive and alcoholic. The alienation that he feels as a brown-skinned, biracial and bisexual person within his own family is echoed by the racism that he experiences living in the United States. His attempts to flee that past lead to a life of travel outside of the United States. Guillermo challenges the reader with a reading surface in which text and white space are in uneven relation to each other – words or letters fade in or out, the order in which you're supposed to read is unclear, images are interspersed with text – but the difficulty of the text and the difficult emotions that it depicts seemed to me to ultimately be a rumination on the nature of community and forgiveness. Julia H. Lee is professor of Asian American Studies at the University of California, Irvine. She is the author of three books: Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937 (New York University Press, 2011), Understanding Maxine Hong Kingston (University of South Carolina Press, 2018), and The Racial Railroad (New York University Press, 2022). With Professor Josephine Lee, she is co-editor of Asian American Literature in Transition, 1850-1930 (Cambridge University Press, 2021), a Choice Outstanding Academic Title for 2022. You can find her on Twitter @thejuliahlee. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Today I talked to Christopher Patterson about two books: the late Y-Dang Troeung's Landbridge [life in fragments] (Knopf Canada, 2023) and Christopher's own Nimrods: A Fake-Punk Self-Hurt Anti-Memoir (Duke UP, 2023), which was published under the name Kawika Guillermo. In Landbridge, Y-Dang Troeung meditates on her family's refugee history and the genocide that has marked the lives of millions of Cambodians like herself. She writes scathingly about how she and her family became the “faces” of Cambodian refugees in Canada, officially welcomed by then prime minister Pierre Elliot Trudeau, her 11-month old face plastered on newspapers as a sign of Canadian benevolence; her return trips to Phnom Penh with her mother and then with her partner Chris are filled with anguish and guilt but also love and friendship. Interspersed with memories of her childhood growing up in Canada – going out in the middle of the night to collect worms for money, enduring the racist attack of neighbors and schoolmates, staying up with her brothers to watch their beloved Montreal Canadiens – she talks about how her research into and deep knowledge about Cambodia is dismissed in academia. As much as it is a reflection on the past, Landbridge is also a missive to the future, a letter from a dying mother to her beloved child. Y-Dang's voice is powerful and raw, her words filled with joy, regret, anger, and love, sometimes within the space of a few sentences. I started reading this book and found that I could not put it down until I had finished it. Nimrods recounts a very different kind of Asian diasporic experience. Guillermo explores the pain of a childhood and adulthood marked by rigidly Christian dictates espoused by a father who was abusive and alcoholic. The alienation that he feels as a brown-skinned, biracial and bisexual person within his own family is echoed by the racism that he experiences living in the United States. His attempts to flee that past lead to a life of travel outside of the United States. Guillermo challenges the reader with a reading surface in which text and white space are in uneven relation to each other – words or letters fade in or out, the order in which you're supposed to read is unclear, images are interspersed with text – but the difficulty of the text and the difficult emotions that it depicts seemed to me to ultimately be a rumination on the nature of community and forgiveness. Julia H. Lee is professor of Asian American Studies at the University of California, Irvine. She is the author of three books: Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937 (New York University Press, 2011), Understanding Maxine Hong Kingston (University of South Carolina Press, 2018), and The Racial Railroad (New York University Press, 2022). With Professor Josephine Lee, she is co-editor of Asian American Literature in Transition, 1850-1930 (Cambridge University Press, 2021), a Choice Outstanding Academic Title for 2022. You can find her on Twitter @thejuliahlee. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Today I talked to Christopher Patterson about two books: the late Y-Dang Troeung's Landbridge [life in fragments] (Knopf Canada, 2023) and Christopher's own Nimrods: A Fake-Punk Self-Hurt Anti-Memoir (Duke UP, 2023), which was published under the name Kawika Guillermo. In Landbridge, Y-Dang Troeung meditates on her family's refugee history and the genocide that has marked the lives of millions of Cambodians like herself. She writes scathingly about how she and her family became the “faces” of Cambodian refugees in Canada, officially welcomed by then prime minister Pierre Elliot Trudeau, her 11-month old face plastered on newspapers as a sign of Canadian benevolence; her return trips to Phnom Penh with her mother and then with her partner Chris are filled with anguish and guilt but also love and friendship. Interspersed with memories of her childhood growing up in Canada – going out in the middle of the night to collect worms for money, enduring the racist attack of neighbors and schoolmates, staying up with her brothers to watch their beloved Montreal Canadiens – she talks about how her research into and deep knowledge about Cambodia is dismissed in academia. As much as it is a reflection on the past, Landbridge is also a missive to the future, a letter from a dying mother to her beloved child. Y-Dang's voice is powerful and raw, her words filled with joy, regret, anger, and love, sometimes within the space of a few sentences. I started reading this book and found that I could not put it down until I had finished it. Nimrods recounts a very different kind of Asian diasporic experience. Guillermo explores the pain of a childhood and adulthood marked by rigidly Christian dictates espoused by a father who was abusive and alcoholic. The alienation that he feels as a brown-skinned, biracial and bisexual person within his own family is echoed by the racism that he experiences living in the United States. His attempts to flee that past lead to a life of travel outside of the United States. Guillermo challenges the reader with a reading surface in which text and white space are in uneven relation to each other – words or letters fade in or out, the order in which you're supposed to read is unclear, images are interspersed with text – but the difficulty of the text and the difficult emotions that it depicts seemed to me to ultimately be a rumination on the nature of community and forgiveness. Julia H. Lee is professor of Asian American Studies at the University of California, Irvine. She is the author of three books: Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937 (New York University Press, 2011), Understanding Maxine Hong Kingston (University of South Carolina Press, 2018), and The Racial Railroad (New York University Press, 2022). With Professor Josephine Lee, she is co-editor of Asian American Literature in Transition, 1850-1930 (Cambridge University Press, 2021), a Choice Outstanding Academic Title for 2022. You can find her on Twitter @thejuliahlee. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

In Archaism and Actuality: Japan and the Global Fascist Imaginary (Duke UP, 2023) eminent Marxist historian Harry Harootunian explores the formation of capitalism and fascism in Japan as a prime example of the uneven development of capitalism. He applies his theorization of subsumption to examine how capitalism integrates and redirects preexisting social, cultural, and economic practices to guide the present. This subsumption leads to a global condition in which states and societies all exist within different stages and manifestations of capitalism. Drawing on Japanese philosophers Miki Kiyoshi and Tosaka Jun, Marxist theory, and Gramsci's notion of passive revolution, Harootunian shows how the Meiji Restoration of 1868 and its program dedicated to transforming the country into a modern society exemplified a unique path to capitalism. Japan's capitalist expansion in the nineteenth and twentieth centuries, rise as an imperial power, and subsequent transition to fascism signal a wholly distinct trajectory into modernity that forecloses any notion of a pure or universal development of capitalism. With Archaism and Actuality, Harootunian offers both a retheorization of capitalist development and a reinterpretation of epochal moments in modern Japanese history. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music's structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light: Improvisation and Transcendence in the Music of the Grateful Dead (Duke UP, 2023), Michael Kaler examines how the Dead's dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band's early years, the significance of their playing Ken Kesey's Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music. Michael Kaler is Associate Professor, teaching stream, at the Institute for the Study of University Pedagogy at the University of Toronto Mississauga and author of Flora Tells a Story: The Apocalypse of Paul and Its Contexts. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Brown Saviors and Their Others: Race, Caste, Labor, and the Global Politics of Help in India (Duke UP, 2023), Arjun Shankar draws from his ethnographic work with an educational NGO to investigate the practices of “brown saviors”—globally mobile, dominant-caste, liberal Indian and Indian diasporic technocrats who drive India's help economy. Shankar argues that these brown saviors actually reproduce many of the racialized values and ideologies associated with who and how to help that have been passed down from the colonial period, while masking other operations of power behind the racial politics of global brownness. In India, these operations of power center largely on the transnational labor politics of caste. Ever attentive to moments of discomfort and complicity, Shankar develops a method of “nervous ethnography” to uncover the global racial hierarchies, graded caste stratifications, urban/rural distinctions, and digital panaceas that shape the politics of help in India. Through nervous critique, Shankar introduces a framework for the study of the global help economies that reckons with the ongoing legacies of racial and caste capitalism. Arjun Shankar is Assistant Professor of Culture and Politics at Georgetown University. Alize Arıcan is a Society of Fellows Postdoctoral Scholar at Boston University and an incoming Assistant Professor of Anthropology at CUNY—City College, focusing on urban renewal, futurity, care, and migration. You can find her on Twitter @alizearican. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Brown Saviors and Their Others: Race, Caste, Labor, and the Global Politics of Help in India (Duke UP, 2023), Arjun Shankar draws from his ethnographic work with an educational NGO to investigate the practices of “brown saviors”—globally mobile, dominant-caste, liberal Indian and Indian diasporic technocrats who drive India's help economy. Shankar argues that these brown saviors actually reproduce many of the racialized values and ideologies associated with who and how to help that have been passed down from the colonial period, while masking other operations of power behind the racial politics of global brownness. In India, these operations of power center largely on the transnational labor politics of caste. Ever attentive to moments of discomfort and complicity, Shankar develops a method of “nervous ethnography” to uncover the global racial hierarchies, graded caste stratifications, urban/rural distinctions, and digital panaceas that shape the politics of help in India. Through nervous critique, Shankar introduces a framework for the study of the global help economies that reckons with the ongoing legacies of racial and caste capitalism. Arjun Shankar is Assistant Professor of Culture and Politics at Georgetown University. Alize Arıcan is a Society of Fellows Postdoctoral Scholar at Boston University and an incoming Assistant Professor of Anthropology at CUNY—City College, focusing on urban renewal, futurity, care, and migration. You can find her on Twitter @alizearican. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Brown Saviors and Their Others: Race, Caste, Labor, and the Global Politics of Help in India (Duke UP, 2023), Arjun Shankar draws from his ethnographic work with an educational NGO to investigate the practices of “brown saviors”—globally mobile, dominant-caste, liberal Indian and Indian diasporic technocrats who drive India's help economy. Shankar argues that these brown saviors actually reproduce many of the racialized values and ideologies associated with who and how to help that have been passed down from the colonial period, while masking other operations of power behind the racial politics of global brownness. In India, these operations of power center largely on the transnational labor politics of caste. Ever attentive to moments of discomfort and complicity, Shankar develops a method of “nervous ethnography” to uncover the global racial hierarchies, graded caste stratifications, urban/rural distinctions, and digital panaceas that shape the politics of help in India. Through nervous critique, Shankar introduces a framework for the study of the global help economies that reckons with the ongoing legacies of racial and caste capitalism. Arjun Shankar is Assistant Professor of Culture and Politics at Georgetown University. Alize Arıcan is a Society of Fellows Postdoctoral Scholar at Boston University and an incoming Assistant Professor of Anthropology at CUNY—City College, focusing on urban renewal, futurity, care, and migration. You can find her on Twitter @alizearican. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

In Brown Saviors and Their Others: Race, Caste, Labor, and the Global Politics of Help in India (Duke UP, 2023), Arjun Shankar draws from his ethnographic work with an educational NGO to investigate the practices of “brown saviors”—globally mobile, dominant-caste, liberal Indian and Indian diasporic technocrats who drive India's help economy. Shankar argues that these brown saviors actually reproduce many of the racialized values and ideologies associated with who and how to help that have been passed down from the colonial period, while masking other operations of power behind the racial politics of global brownness. In India, these operations of power center largely on the transnational labor politics of caste. Ever attentive to moments of discomfort and complicity, Shankar develops a method of “nervous ethnography” to uncover the global racial hierarchies, graded caste stratifications, urban/rural distinctions, and digital panaceas that shape the politics of help in India. Through nervous critique, Shankar introduces a framework for the study of the global help economies that reckons with the ongoing legacies of racial and caste capitalism. Arjun Shankar is Assistant Professor of Culture and Politics at Georgetown University. Alize Arıcan is a Society of Fellows Postdoctoral Scholar at Boston University and an incoming Assistant Professor of Anthropology at CUNY—City College, focusing on urban renewal, futurity, care, and migration. You can find her on Twitter @alizearican. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Brown Saviors and Their Others: Race, Caste, Labor, and the Global Politics of Help in India (Duke UP, 2023), Arjun Shankar draws from his ethnographic work with an educational NGO to investigate the practices of “brown saviors”—globally mobile, dominant-caste, liberal Indian and Indian diasporic technocrats who drive India's help economy. Shankar argues that these brown saviors actually reproduce many of the racialized values and ideologies associated with who and how to help that have been passed down from the colonial period, while masking other operations of power behind the racial politics of global brownness. In India, these operations of power center largely on the transnational labor politics of caste. Ever attentive to moments of discomfort and complicity, Shankar develops a method of “nervous ethnography” to uncover the global racial hierarchies, graded caste stratifications, urban/rural distinctions, and digital panaceas that shape the politics of help in India. Through nervous critique, Shankar introduces a framework for the study of the global help economies that reckons with the ongoing legacies of racial and caste capitalism. Arjun Shankar is Assistant Professor of Culture and Politics at Georgetown University. Alize Arıcan is a Society of Fellows Postdoctoral Scholar at Boston University and an incoming Assistant Professor of Anthropology at CUNY—City College, focusing on urban renewal, futurity, care, and migration. You can find her on Twitter @alizearican. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In this episode of High Theory, Erin Pineda talks about decolonizing praxis. Black American activists in the 1950s and 1960s used strategies of civil disobedience and nonviolent direct action as part of a broader anticolonial movement, and reading their story in an international context can help us rethink the narrative of the US civil rights movement enshrined in American political theory. In the episode Erin references Jack Halberstam's concept of “low theory” which derives from the work of Stuart Hall, and appears in the book, The Queer Art of Failure (Duke UP 2011). She also references several mainstream liberal political philosophers who set the terms of the debate about “civil disobedience” in the US academy in the 1970s, John Rawls Theory of Justice (Harvard UP, 1971), Hugo Bedau, “On Civil Disobedience” (Journal of Philosophy 58, no. 21 (1961): 653-665) and Carl Cohen, Civil Disobedience: Conscience, Tactics, and the Law (Columbia University Press, 1971). Pineda writes against this tradition. The American activists she studies developed a different set of theoretical commitments to civil disobedience that are a bit less polite, and have a bit more potential for actual revolution. Erin Pineda is the Phyllis Cohen Rappaport '68 New Century Term Professor of Government at Smith College. She teaches courses in the history of political thought, democratic theory, race and politics, social movements and American political thought. Her research interests include the politics of protest and social movements, Black political thought, race and politics, radical democracy and 20th-century American political development. If you want to learn more about the topics she discusses in this episode, read her book! It's called Seeing Like an Activist: Civil Disobedience and the Civil Rights Movement (Oxford UP, 2021). The image for this episode is a famous photograph of Black student Elizabeth Eckford being jeered by white student Hazel Bryan as she attempts to enter Little Rock Central High School, taken by Will Counts on 4 September 1957, one of the more famous images of school desegregation from the US Civil Rights Movement. This digital version came from wikimedia commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode of High Theory, Erin Pineda talks about decolonizing praxis. Black American activists in the 1950s and 1960s used strategies of civil disobedience and nonviolent direct action as part of a broader anticolonial movement, and reading their story in an international context can help us rethink the narrative of the US civil rights movement enshrined in American political theory. In the episode Erin references Jack Halberstam's concept of “low theory” which derives from the work of Stuart Hall, and appears in the book, The Queer Art of Failure (Duke UP 2011). She also references several mainstream liberal political philosophers who set the terms of the debate about “civil disobedience” in the US academy in the 1970s, John Rawls Theory of Justice (Harvard UP, 1971), Hugo Bedau, “On Civil Disobedience” (Journal of Philosophy 58, no. 21 (1961): 653-665) and Carl Cohen, Civil Disobedience: Conscience, Tactics, and the Law (Columbia University Press, 1971). Pineda writes against this tradition. The American activists she studies developed a different set of theoretical commitments to civil disobedience that are a bit less polite, and have a bit more potential for actual revolution. Erin Pineda is the Phyllis Cohen Rappaport '68 New Century Term Professor of Government at Smith College. She teaches courses in the history of political thought, democratic theory, race and politics, social movements and American political thought. Her research interests include the politics of protest and social movements, Black political thought, race and politics, radical democracy and 20th-century American political development. If you want to learn more about the topics she discusses in this episode, read her book! It's called Seeing Like an Activist: Civil Disobedience and the Civil Rights Movement (Oxford UP, 2021). The image for this episode is a famous photograph of Black student Elizabeth Eckford being jeered by white student Hazel Bryan as she attempts to enter Little Rock Central High School, taken by Will Counts on 4 September 1957, one of the more famous images of school desegregation from the US Civil Rights Movement. This digital version came from wikimedia commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

During the years between the Civil War and World War II, police in New York City struggled with how to control a diverse metropolis. In Police and the Empire City: Race and the Origins of Modern Policing in New York (Duke UP, 2023), Matthew Guariglia tells the history of the New York Police Department to show how its origins were built upon and inseparably entwined with the history of race, ethnicity, and whiteness in the United States.  Guariglia explores the New York City Police Department through its periods of experimentation and violence as police experts imported tactics from the US occupation of the Philippines and Cuba, devised modern bureaucratic techniques to better suppress Black communities, and infiltrated supposedly unknowable immigrant neighborhoods. Innovations ranging from recruiting Chinese, Italian, and German police to form “ethnic squads” to the use of deportation and federal immigration restrictions to control local crime—even the introduction of fingerprinting—were motivated by attempts to govern a multiracial city. Campaigns to remake the police department created an urban landscape where power, gender, sexuality, race, ethnicity, crime, and bodies collided and provided a foundation for the supposedly color-blind, technocratic, federally backed, and surveillance-based policing of today. Jeffrey Lamson is a PhD student in world history at Northeastern University. His research focuses on the history of police technology, its relationship to the history of police reform, and its place at the intersection of U.S. domestic policing and global counterinsurgency. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art