Explore the vast range of titles available.

A visible presence for some two decades, electronic literature has already produced many works that deserve the rigorous scrutiny critics have long practiced with print literature. Only now, however, with Electronic Literature by N. Katherine Hayles, do we have the first systematic survey of the field and an analysis of its importance, breadth, and wide-ranging implications for literary study. Hayles’s book is designed to help electronic literature move into the classroom. Her systematic survey of the field addresses its major genres, the challenges it poses to traditional literary theory, and the complex and compelling issues at stake. She develops a theoretical framework for understanding how electronic literature both draws on the print tradition and requires new reading and interpretive strategies. Grounding her approach in the evolutionary dynamic between humans and technology, Hayles argues that neither the body nor the machine should be given absolute theoretical priority. Rather, she focuses on the interconnections between embodied writers and users and the intelligent machines that perform electronic texts. Through close readings of important works, Hayles demonstrates that a new mode of narration is emerging that differs significantly from previous models. Key to her argument is the observation that almost all contemporary literature has its genesis as electronic files, so that print becomes a specific mode for electronic text rather than an entirely different medium. Hayles illustrates the implications of this condition with three contemporary novels that bear the mark of the digital.

Why do civilians suffer most during times of violent conflict? Why are civilian fatalities as much as eight times higher, calculated globally for current conflicts, than military fatalities? In Why They Die, Daniel Rothbart and Karina V. Korostelina address these questions through a systematic study of civilian devastation in violent conflicts. Pushing aside the simplistic definition of war as a guns-and-blood battle between two militant groups, the authors investigate the identity politics underlying conflicts of many types. During a conflict, all those on the opposite side are perceived as the enemy, with little distinction between soldiers and civilians. As a result, random atrocities and systematic violence against civilian populations become acceptable. Rothbart and Korostelina devote the first half of the book to case studies: deportation of the Crimean Tatars from the Ukraine, genocide in Rwanda, the Lebanon War, and the war in Iraq. With the second half, they present new methodological tools for understanding different types of violent conflict and discuss the implications of these tools for conflict resolution.

In this eng translation and revision of her acclaimed German-language book, Elke Sturm-Trigonakis expands on Goethe's notion of Weltliteratur (1827) to propose that, owing to globalization, literature is undergoing a profound change in process, content, and linguistic practice. Rather than producing texts for a primarily national readership, modern writers can collate diverse cultural, literary, and linguistic traditions to create new modes of expression that she designates as \"hybrid texts.\" The author introduces an innovative framework to analyse these new forms of expression that is based on comparative cultural studies and its methodology of contextual (systemic and empirical) approaches to the study of literature and culture, including the concepts of the macro- and micro-systems of culture and literature. To illustrate her proposition, Sturm-Trigonakis discusses selected literary texts which that exhibit characteristics of linguistic and cultural hybridity, the concept of \"in-between,\" and transculturality and thus are located in a space of a \"new world literature.\" Examples include Gastarbeiterliteratur (\"migrant literature\") by authors such as Chiellino, Shami, and Atabay. The book is important reading for philologists, linguists, sociologists, and other scholars interested in the cultural and linguistic impact of globalization on literature and culture. The German edition of this volume was originally published as Global playing in der Literatur. Ein Versuch über die Neue Weltliteratur (2007), and it has been translated in collaboration with the author by Athanasia Margoni and Maria Kaisar. Contents: Goethe's Weltliteratur and the Career of an Idea; Hybrid Literary Texts and Philological Paradigms; New World Literature and a Systemic Reorganization of Hybrid Fictional Texts; A Survey of Poetic Multilingualism; From One-Word-Interference to Metamultulingualism and Transtextuality; Multilingualism as a Poetic Strategy; Nomadic Biographies in New World Literature; Global Cities and Borderlands as Transnational Spaces; and Global and Local Temporal Layers and the De-placement of National History.

The Historical Dictionary of Contemporary Art illuminates important artists, styles, and movements of the past 70 years. Beginning with the immediate post-World War II period, it encompasses earlier 20th century masters, including Pablo Picasso, Henri Matisse, Henry Moore, Alberto Giacometti, Joan Miro, Jean Dubuffet, Stuart Davis, Georgia O'Keeffe, and other well-known figures, who remained creatively productive, while also inspiring younger generations. The book covers subsequent developments, including abstract expressionism, happenings, pop art, minimalism, conceptual art, arte povera, feminist art, photorealism, neo-expressionism, and postmodernism, as well as the contributions of such artists as Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, David Hockney, Ellsworth Kelly, Francis Bacon, Louise Bourgeois, Lucio Fontana, Andy Warhol, Richard Serra, Donald Judd, Joseph Beuys, Christo, Anselm Kiefer, Judy Chicago, Ai Weiwei, and Jeff Koons. Historical Dictionary of Contemporary Art contains a chronology, an introduction, and an extensive bibliography, including more than 900 cross-referenced entries on important artists, styles, terms, and movements.This book is an excellent resource for students, researchers, and anyone wanting to know more about contemporary art.

This is the first book-length study of why states sometimes ignore, oppose, or undermine elements of the nuclear nonproliferation regime-even as they formally support it. Anchored by the Treaty on the Non-Proliferation of Nuclear Weapons, the nuclear nonproliferation regime is the constellation of agreements, initiatives, and norms that work in concert to regulate nuclear material and technology. The essays gathered here show that attitudes on nonproliferation depend on a \"complex, contingent decision calculus,\" as states continually gauge how their actions within the regime will affect trade, regional standing, and other interests vital to any nation. The first four essays take theoretical approaches to such topics as a framework for understanding challenges to collective action; clandestine proliferation under the Bush and Obama administrations and its impact on regime legitimacy; threat construction as a lens through which to view resistance to nonproliferation measures; and the debate over the relationship between nuclear disarmament and nonproliferation. Essays comprising the second part of the book use regional and state-specific case studies to look at how U.S. security guarantees affect the willingness of states to support the regime; question the perceived spoiler role of a \"vocal minority\" within the Non-Aligned Movement; challenge notions that Russia is using the regime to build a coalition hostile to the United States; contrast nonproliferation strategies among Latin American countries; and explain the lag in adoption of an Additional Protocol by some Middle East and North African countries. Getting countries to cooperate on nonproliferation efforts is an ongoing challenge. These essays show that success must be measured not only by how many states join the effort but also by how they participate once they join.

This volume comprehensively covers a range of issues related to dynamic norm change in the current major international arms control regimes related to nuclear, biological,and chemical weapons; small arms and light weapons; cluster munitions; and antipersonnel mines. Arms control policies of all of the key established and rising state actors are considered, as well as those of nonaligned countries, nongovernmental organizations, and international governing bodies. Recent studies on multilateral arms control tend to focus mostly on \"structure,\" by which opportunities and constraints for action are created. This volume pays equal attention to \"agency,\" through which opportunities and constraints to produce change or maintain the status quo are handled. In addition-and in greater depth than in recent studies-the volume acknowledges the force of moral and ethical impulses (alongside such factors as political, legal, and technological change) in the evolution of arms control norms. The volume begins with a look at the structure of regimes, at the conflicts residing in these structures, and at the dynamic processes in which these conflicts are worked out. The impact of extrinsic factors on norm dynamics is considered next, including technological change and shifts in attitudes and power structures. Essays on the role of agency in driving norm change conclude the volume, with a particular focus on norm entrepreneurship and the importance of acknowledging the competing justice claims surrounding norm-change efforts. Contributors: Una Becker-Jakob, Alexis Below, Marco Fey, Giorgio Franceschini, Andrea Hellmann, Gregor Hofmann, Friederike Klinke, Daniel Müller, Harald Müller, Franziska Plümmer, Carsten Rauch, Judith Reuter, Elvira Rosert, Annette Schaper, Hans-Joachim Schmidt, Tabea Seidler-Diekmann, Simone Wisotzki, Carmen Wunderlich.

Renowned moral philosopher Jonathan Glover confronts the brutal history of the twentieth century to unravel the mystery of why so many atrocities occurred. In a new preface, Glover brings the book through the post-9/11 era and into our own time—and asks whether humankind can \"weaken the grip war has on us.\"Praise for the first edition:“It is hard to imagine a more important book. Glover makes an overwhelming case for the need to understand our own inhumanity, and reduce or eliminate the ways in which it can express itself—and he then begins the task himself. Humanity is an extraordinary achievement.”—Peter Singer, Princeton University“This is an extraordinary book: brilliant, haunting and uniquely important. Almost 40 years ago a president read a best seller and avoided a holocaust. I like to think that some of the leaders and followers of tomorrow will read Humanity.”—Steven Pinker, New York Times Book Review

What does the world admire most about America? Science, technology, higher education, consumer goods-but not, it seems, freedom and democracy. Indeed, these ideals are in global retreat, for reasons ranging from ill-conceived foreign policy to the financial crisis and the sophisticated propaganda of modern authoritarians. Another reason, explored for the first time in this pathbreaking book, is the distorted picture of freedom and democracy found in America's cultural exports.In interviews with thoughtful observers in eleven countries, Martha Bayles heard many objections to the violence and vulgarity pervading today's popular culture. But she also heard a deeper complaint: namely, that America no longer shares the best of itself. Tracing this change to the end of the Cold War, Bayles shows how public diplomacy was scaled back, and in-your-face entertainment became America's de facto ambassador.This book focuses on the present and recent past, but its perspective is deeply rooted in American history, culture, religion, and political thought. At its heart is an affirmation of a certain ethos-of hope for human freedom tempered with prudence about human nature-that is truly the aspect of America most admired by others. And its author's purpose is less to find fault than to help chart a positive path for the future.

Art Since the '80s, a new series from Reaktion Books, seeks to offer compelling surveys of popular themes in contemporary art. In the first book in the series, Gill Perry reveals how the house and the idea of home have inspired a range of imaginative and playful works by artists across the globe. Exploring how artists have engaged with this theme in different contexts-from mobile homes and beach houses to haunted houses and broken homes-Playing at Home shows that our relationship with houses involves complex responses in which gender, race, class, and status overlap, and that through these relationships we turn a house into a home. Perry looks at the works of numerous artists, including Tracey Emin, Rachel Whiteread, Michael Landy, Mike Kelley, and Peter Garfield, as well as the work of artists who travel across continents and see home as a shifting notion, such as Do-Ho-Suh and Song Dong. She also engages with the work of philosophers and cultural theorists from Walter Benjamin and Gaston Bachelard to Johan Huizinga and Henri Lefebvre, who inform our understanding of living and dwelling. Ultimately, she argues that irony, parody, and play are equally important in our interpretations of these works on the home. With over one hundred images, Playing at Home covers a wide range of art and media in a fascinating look at why there's no place like home.

Imagining Spaces and Places seeks to produce an interdisciplinary dialogue between art history and literature studies and other fields of cultural analysis that work with the concepts of space, place and various \"scapes\", such as cityscapes, bodyscapes, mindscapes and memoryscapes, as well as the more familiar landscapes. The volume was inspired by new lines of study that underline the experiential and multidimensional aspects of spaces.We explore how art, literature or urban spaces forge \"scapes\" by imposing or suggesting aesthetic, evaluative or ideological orderings and perceptual as well as emotive perspectives on the \"raw material\" or on previous ways of spatial worldmaking. We look at the role of cultural and artistic renderings of space in relation to everyday experiences of spaces. We examine how the experiences of places are mediated in various art forms and other cultural discourses or practices and how these discourses contribute to the understanding of particular places and also to understanding space in more general terms.Imagining Spaces and Places is addressed to scholars and teachers working at the intersection of cultural and spatial analyses, as well as to their undergraduate and postgraduate students.