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Death beyond Disavowal utilizes “difference” as theorized by women of color feminists to analyze works of cultural production by people of color as expressing a powerful antidote to the erasures of contemporary neoliberalism.According to Grace Kyungwon Hong, neoliberalism is first and foremost a structure of disavowal enacted as a reaction to the successes of the movements for decolonization, desegregation, and liberation of the post–World War II era. It emphasizes the selective and uneven affirmation and incorporation of subjects and ideas that were formerly categorically marginalized, particularly through invitation into reproductive respectability. It does so in order to suggest that racial, gendered, and sexualized violence and inequity are conditions of the past, rather than the foundations of contemporary neoliberalism’s exacerbation of premature death. Neoliberal ideologies hold out the promise of protection from premature death in exchange for complicity with this pretense.In Audre Lorde’s Sister Outsider, Cherríe Moraga’s The Last Generation and Waiting in the Wings, Oscar Zeta Acosta’s The Revolt of the Cockroach People, Ana Castillo’s So Far from God, Gayl Jones’s Corregidora, Isaac Julien’s Looking for Langston, Inge Blackman’s B. D. Women, Rodney Evans’s Brother to Brother, and the work of the late Barbara Christian, Death beyond Disavowal finds the memories of death and precarity that neoliberal ideologies attempt to erase.Hong posits cultural production as a compelling rejoinder to neoliberalism’s violences. She situates women of color feminism, often dismissed as narrow or limited in its effect, as a potent diagnosis of and alternative to such violences. And she argues for the importance of women of color feminism to any critical engagement with contemporary neoliberalism.

Death beyond Disavowal utilizes “difference” as theorized by women of color feminists to analyze works of cultural production by people of color as expressing a powerful antidote to the erasures of contemporary neoliberalism.According to Grace Kyungwon Hong, neoliberalism is first and foremost a structure of disavowal enacted as a reaction to the successes of the movements for decolonization, desegregation, and liberation of the post–World War II era. It emphasizes the selective and uneven affirmation and incorporation of subjects and ideas that were formerly categorically marginalized, particularly through invitation into reproductive respectability. It does so in order to suggest that racial, gendered, and sexualized violence and inequity are conditions of the past, rather than the foundations of contemporary neoliberalism’s exacerbation of premature death. Neoliberal ideologies hold out the promise of protection from premature death in exchange for complicity with this pretense.In Audre Lorde’s Sister Outsider, Cherríe Moraga’s The Last Generation and Waiting in the Wings, Oscar Zeta Acosta’s The Revolt of the Cockroach People, Ana Castillo’s So Far from God, Gayl Jones’s Corregidora, Isaac Julien’s Looking for Langston, Inge Blackman’s B. D. Women, Rodney Evans’s Brother to Brother, and the work of the late Barbara Christian, Death beyond Disavowal finds the memories of death and precarity that neoliberal ideologies attempt to erase.Hong posits cultural production as a compelling rejoinder to neoliberalism’s violences. She situates women of color feminism, often dismissed as narrow or limited in its effect, as a potent diagnosis of and alternative to such violences. And she argues for the importance of women of color feminism to any critical engagement with contemporary neoliberalism.

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Weaving sound historical research with rich ethnographic insight, An Impossible Inheritance tells the story of the emergence, disavowal, and afterlife of a distinctive project in transcultural psychiatry initiated at the Fann Psychiatric Clinic in Dakar, Senegal during the 1960s and 1970s. Today’s clinic remains haunted by its past and Katie Kilroy-Marac brilliantly examines the complex forms of memory work undertaken by its affiliates over a sixty year period. Through stories such as that of the the ghost said to roam the clinic’s halls, the mysterious death of a young doctor sometimes attributed to witchcraft, and the spirit possession ceremonies that may have taken place in Fann’s courtyard, Kilroy-Marac argues that memory work is always an act of the imagination and a moral practice with unexpected temporal, affective, and political dimensions. By exploring how accounts about the Fann Psychiatric Clinic and its past speak to larger narratives of postcolonial and neoliberal transformation, An Impossible Inheritance examines the complex relationship between memory, history, and power within the institution and beyond.  

This book is the companion to Difference and Disavowal: The Trauma of Eros (Stanford University Press, 2000), which dealt with the psychoanalytic clinical problem of resistance to interpretation. The key to this resistance is the unconscious registration and repudiation (disavowal) of the reality of difference. The surprising generality of this resistance intersects with Nietzsche's, Heidegger's, and Derrida's understanding of how and why difference is in general the "unthought of metaphysics." All three see metaphysics engaged with a "registration and repudiation of difference," and all three rethink interpretation in relation to this question. The synthesis of these theories of interpretation and difference provides the philosophical foundations for a new thinking of how interpretation functions, and is a critical intersection of deconstruction and psychoanalysis.

Weaving sound historical research with rich ethnographic insight, An Impossible Inheritance tells the story of the emergence, disavowal, and afterlife of a distinctive project in transcultural psychiatry initiated at the Fann Psychiatric Clinic in Dakar, Senegal during the 1960s and 1970s. Today’s clinic remains haunted by its past and Katie Kilroy-Marac brilliantly examines the complex forms of memory work undertaken by its affiliates over a sixty year period. Through stories such as that of the the ghost said to roam the clinic’s halls, the mysterious death of a young doctor sometimes attributed to witchcraft, and the spirit possession ceremonies that may have taken place in Fann’s courtyard, Kilroy-Marac argues that memory work is always an act of the imagination and a moral practice with unexpected temporal, affective, and political dimensions. By exploring how accounts about the Fann Psychiatric Clinic and its past speak to larger narratives of postcolonial and neoliberal transformation, An Impossible Inheritance examines the complex relationship between memory, history, and power within the institution and beyond.  

Abraham argues that a theological imagination can expand the contours of postcolonial theory through a reexamination of notions of subjectivity, gender, and violence in a dialogical model with Karl Rahner. She questions of whether postcolonial theory, with its disavowal of religious agency, can provide an invigorating occasion for Catholic theology.

In one of his public disavowals of autobiography, Nathaniel Hawthorne informed his readers that external traits "hide the man, instead of displaying him," directing them instead to "look through the whole range of his fictitious characters, good and evil, in order to detect any of his essential traits." In this multidimensional biography of America's first great storyteller, Edwin Haviland Miller answers Hawthorne's challenge and reveals the inner landscapes of this modest, magnetic man who hid himself in his fiction. Thomas Woodson hails Miller's account as "the best biography of this most elusive of American authors."

Abraham argues that a theological imagination can expand the contours of postcolonial theory through a reexamination of notions of subjectivity, gender, and violence in a dialogical model with Karl Rahner. She questions of whether postcolonial theory, with its disavowal of religious agency, can provide an invigorating occasion for Catholic theology.

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . Beauty is among the most hotly contested subjects in current discussions on art and culture. After decades of disavowal, beauty's resurgence in recent art has engaged some of the most influential artists and writers. Spanning diverse positions, this anthology assembles the key texts on the cultural politics of this recent phenomenon, as well as contextualizing these debates - both for and against - in artistic practice and the broader history of aesthetics. Artists surveyed include: Vito Acconci, Jake and Dinos Chapman, Gustave Courbet, Marcel Duchamp, Marlene Dumas, Felix Gonzalez-Torres, Adolph Gottlieb, Hans Hofmann, Gary Hume, Asger Jorn, Alex Katz, Willem de Kooning, Joseph Kosuth, Paul McCarthy, Edouard Manet, Robert Mapplethorpe, Agnes Martin, Robert Morris, Barnett Newman, Pablo Picasso, Jackson Pollock, Gerhard Richter, Mark Rothko, Robert Smithson, Nancy Spero, Frank Stella, Clyfford Still and Andy Warhol. Writers include: Theodor Adorno, Alexander Alberro, Rasheed Araeen, Art & Language, Benjamin H. D. Buchloh, T. J. Clark, Mark Cousins, Arthur C. Danto, Jacques Derrida, Thierry de Duve, Fredric Jameson, Christoph Grunenberg, Dave Hickey, Suzanne Perling Hudson, Caroline A. Jones, John Roberts, Elaine Scarry, Wendy Steiner and Paul Wood.

Clandestinely produced in disavowal of a 20-year filmmaking ban passed down by the Iranian authorities, the scathing MANUSCRIPTS DON'T BURN brings a whole new level of clarity and audacity to Mohammad Rasoulof's already laudable career. Drawing from the true story of the government's attempted 1995 murder of several prominent writers and intellectuals, Rasoulof imagines a repressive regime so pervasive that even the morally righteous are subsumed or cast aside. A lacerating and slow-burning thri