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In this bold and innovative book, Massimo Modonesi weaves together theory and political practice by relating the concepts of subalternity, antagonism and autonomy to contemporary movements in Latin America and elsewhere. In a sophisticated account, Modonesi reconstructs the debates between Marxist authors and schools of thought in order to sketch out informed strategies of resistance. He reviews the works of Gramsci, Negri, Castoriadis and Lefort, and engages with the arguments made by E. P. Thompson, Spivak, Laclau and Mouffe. Subalternity, Antagonism, Autonomy firmly roots key theoretical arguments from a range of critical thinkers within specific political movements in order to recover these concepts as analytical instruments which can help to guide contemporary struggles.

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In this bold and innovative book, Massimo Modonesi weaves together theory and political practice by relating the concepts of subalternity, antagonism and autonomy to contemporary movements in Latin America and elsewhere. In a sophisticated account, Modonesi reconstructs the debates between Marxist authors and schools of thought in order to sketch out informed strategies of resistance. He reviews the works of Gramsci, Negri, Castoriadis and Lefort, and engages with the arguments made by E. P. Thompson, Spivak, Laclau and Mouffe. Subalternity, Antagonism, Autonomy firmly roots key theoretical arguments from a range of critical thinkers within specific political movements in order to recover these concepts as analytical instruments which can help to guide contemporary struggles.

The Gibbon Controversy began in 1776 with the publication of the first volume of <3>The History of the Decline and Fall of the Roman Empire<1> and has continued to the present. Gibbon stated that he believed an inseparable connection existed between the decline of the Roman Empire and the growth and triumph of the church. The present comprehensive account of the controversy reveals that it has been of larger proportions than has generally been known.Originally published in 1933.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Focusing on the conflict in Northern Ireland, this book explores such questions as why successive governments have failed to reach any settlement, and progress to date with the Anglo-Irish agreement. The authors assess these questions, in the light of past historical and social science scholarship, in interviews with key politicians, and in an examination of political violence since 1969. They point to feasible strategies for a democratic settlement of the Province. O'Leary's other publications include "Theories of the State" (1987) and "The Asiatic Mode of Production" (1989). McGarry's other titles include "The Future of Northern Ireland" (1990), co-edited with O'Leary.

Book is in NEW condition. 1.21

Since its first publication in 1980, Professor Kennedy's masterly account of the rivalry between Great Britain and Germany in the period leading to the First World War has established itself as the definitive work on the subject.Over ten years of research in more than sixty archives in Britain and Germany culminated in this full-scale, meticulous analysis. The result reaches far beyond a diplomatic narrative of relations between the two countries. It concerns itself with a thorough comparison of the two societies, their political cultures, economies, party politics, courts, the role of the press and pressure groups, and other factors. The work therefore contributes to the larger debate on the nature of foreign policy, as well as to the specific controversies over the British-German antagonisms that eventually led to war.

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Chaucerian Conflict explores the textual environment of London in the 1380s and 1390s, revealing a language of betrayal, surveillance, slander, treason, rebellion, flawed idealism, and corrupted compaignyes. Taking a strongly interdisciplinary approach, it examines how discourses about social antagonism work across different kinds of texts written at this time, including Chaucer's House of Fame, Troilus and Criseyde, and Canterbury Tales, and other literary texts such as St Erkenwald, Gower's Vox clamantis, Usk's Testament of Love, and Maidstone's Concordia. Many non-literary texts are also discussed, including the Mercers' Petition, Usk's Appeal, the guild returns, judicial letters, de Mezieres's Letter to Richard II, and chronicle accounts.These were tumultuous decades in London: some of the conflicts and problems discussed include the Peasants' Revolt, the mayoral rivalries of the 1380s, the Merciless Parliament, slander legislation, and contemporary suspicion of urban associations. While contemporary texts try to hold out hope for the future, or imagine an earlier Golden Age, Chaucer's texts foreground social conflict and antagonism. Though most critics have promoted an idea of Chaucer's texts as essentially socially optimistic and congenial, Marion Turner argues that Chaucer presents a vision of a society that is inevitably divided and destructive.

Chaucerian Conflict explores the textual environment of London in the 1380s and 1390s, revealing a language of betrayal, surveillance, slander, treason, rebellion, flawed idealism, and corrupted compaignyes. Taking a strongly interdisciplinary approach, it examines how discourses about social antagonism work across different kinds of texts written at this time, including Chaucer's House of Fame, Troilus and Criseyde, and Canterbury Tales, and other literary texts such as St Erkenwald, Gower's Vox clamantis, Usk's Testament of Love, and Maidstone's Concordia. Many non-literary texts are also discussed, including the Mercers' Petition, Usk's Appeal, the guild returns, judicial letters, de Mezieres's Letter to Richard II, and chronicle accounts.These were tumultuous decades in London: some of the conflicts and problems discussed include the Peasants' Revolt, the mayoral rivalries of the 1380s, the Merciless Parliament, slander legislation, and contemporary suspicion of urban associations. While contemporary texts try to hold out hope for the future, or imagine an earlier Golden Age, Chaucer's texts foreground social conflict and antagonism. Though most critics have promoted an idea of Chaucer's texts as essentially socially optimistic and congenial, Marion Turner argues that Chaucer presents a vision of a society that is inevitably divided and destructive.

Since its first publication in 1980, Professor Kennedy's masterly account of the rivalry between Great Britain and Germany in the period leading to the First World War has established itself as the definitive work on the subject.Over ten years of research in more than sixty archives in Britain and Germany culminated in this full-scale, meticulous analysis. The result reaches far beyond a diplomatic narrative of relations between the two countries. It concerns itself with a thorough comparison of the two societies, their political cultures, economies, party politics, courts, the role of the press and pressure groups, and other factors. The work therefore contributes to the larger debate on the nature of foreign policy, as well as to the specific controversies over the British-German antagonisms that eventually led to war.

Since its first publication in 1980, Professor Kennedy's masterly account of the rivalry between Great Britain and Germany in the period leading to the First World War has established itself as the definitive work on the subject.Over ten years of research in more than sixty archives in Britain and Germany culminated in this full-scale, meticulous analysis. The result reaches far beyond a diplomatic narrative of relations between the two countries. It concerns itself with a thorough comparison of the two societies, their political cultures, economies, party politics, courts, the role of the press and pressure groups, and other factors. The work therefore contributes to the larger debate on the nature of foreign policy, as well as to the specific controversies over the British-German antagonisms that eventually led to war.

Novelists, poets, and playwrights live double lives. When they fall out with each other they seem to do so with great passion. This highly entertaining book looks at some of the most complex friendships and enmities in literary history and examines the dramatic effects on literature itself. Grudge matches covered here include Vladimir Nabokov against Edmund Wilson; Norman Mailer, Truman Capote, Gore Vidal, Virginia Wolfe, and John Updike against each other; Ernest Hemingway's spectacular and very public falling-out with former friends Gertrude Stein and Alice Toklas; Lillian Hellman against Mary McCarthy; plus many more.Richard Bradford is professor of English and a senior distinguished research fellow at the University of Ulster.

Since its first publication in 1980, Professor Kennedy's masterly account of the rivalry between Great Britain and Germany in the period leading to the First World War has established itself as the definitive work on the subject.Over ten years of research in more than sixty archives in Britain and Germany culminated in this full-scale, meticulous analysis. The result reaches far beyond a diplomatic narrative of relations between the two countries. It concerns itself with a thorough comparison of the two societies, their political cultures, economies, party politics, courts, the role of the press and pressure groups, and other factors. The work therefore contributes to the larger debate on the nature of foreign policy, as well as to the specific controversies over the British-German antagonisms that eventually led to war.

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This book explores the weird and mean and in-between that characterize everyday expression online, from absurdist photoshops to antagonistic Twitter hashtags to deceptive identity play. Whitney Phillips and Ryan M. Milner focus especially on the ambivalence of this expression: the fact that it is too unwieldy, too variable across cases, to be essentialized as old or new, vernacular or institutional, generative or destructive. Online expression is, instead, all of the above. This ambivalence, the authors argue, hinges on available digital tools. That said, there is nothing unexpected or surprising about even the strangest online behavior. Ours is a brave new world, and there is nothing new under the sun – a point necessary to understanding not just that online spaces are rife with oddity, mischief, and antagonism, but why these behaviors matter. The Ambivalent Internet is essential reading for students and scholars of digital media and related fields across the humanities, as well as anyone interested in mediated culture and expression.

Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

Important Contribution to the Current Reassessment and a Meditation On American and European Intellectual Traditions of the 19th Cen