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Bomb Children - Leah Zani - Bog - Duke University Press - Plusbog.dk

Spaceship in the Desert - Gokce Gunel - Bog - Duke University Press - Plusbog.dk

Spaceship in the Desert - Goekce Gunel - Bog - Duke University Press - Plusbog.dk

An Ecology of Knowledges - Micha Rahder - Bog - Duke University Press - Plusbog.dk

An Ecology of Knowledges - Micha Rahder - Bog - Duke University Press - Plusbog.dk

Everyday Intimacies of the Middle East - - Bog - Duke University Press - Plusbog.dk

Politics in the Crevices - Sarah El Kazaz - Bog - Duke University Press - Plusbog.dk

Politics in the Crevices - Sarah El Kazaz - Bog - Duke University Press - Plusbog.dk

Beneath the Surface - Lynn M. Thomas - Bog - Duke University Press - Plusbog.dk

The End of Pax Americana - Naoki Sakai - Bog - Duke University Press - Plusbog.dk

Beneath the Surface - Lynn M. Thomas - Bog - Duke University Press - Plusbog.dk

Revolutionary Medicine - P. Sean Brotherton - Bog - Duke University Press - Plusbog.dk

Ice Geographies - Jen Rose Smith - Bog - Duke University Press - Plusbog.dk

Ice Geographies - Jen Rose Smith - Bog - Duke University Press - Plusbog.dk

Living with the Coast of Maine - Joseph T. Kelley - Bog - Duke University Press - Plusbog.dk

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

In Buena Vista in the Club , Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence , to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

DKK 884.00
1

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

In Buena Vista in the Club , Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence , to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

DKK 248.00
1

Jackson Pollock - C Cernuschi - Bog - Duke University Press - Plusbog.dk

Jackson Pollock - C Cernuschi - Bog - Duke University Press - Plusbog.dk

Perhaps no aspect of Jackson Pollock's oeuvre-one of the most important American artists of the twentieth century-has been more misunderstood than the drawings Pollock created during Jungian psychoanalysis sessions from 1939-40. Presented to his psychotherapist, where they remained in private files for almost three decades until their publication in 1970, these drawings have been shrouded in both personal and art-historical controversy-from a lawsuit filed by Pollock's widow, Lee Krasner, to wide-ranging justifications of them as Jungian iconography or as "proof" of Pollock's supposed mental disorder. Published in conjunction with an exhibition touring the United States, this book draws together sixty-nine drawings and one gouache, beautifully reproduced in accurate color for the first time. The images reveal a range of styles, from highly refined and elaborate sketches to rapid and automatic improvisations, as well as a range of subjects, from human figures, animals, and cryptic figures to purely abstract forms. Together, they bear witness to Pollock's intense interest in the latest contemporary art as well as non-Western traditions. Art historian Claude Cernuschi's essay addresses key historical and interpretive questions surrounding these drawings: what was their intended purpose?; do they have particular psychoanalytic importance? what is the relationship between psychoanalysis and art? Ultimately, Cernuschi argues for the importance of reintegrating these works into their rightly held place in Pollock's oeurve. Remarkable for their beauty as well as spontaneity, these drawings reflect the conscious intellectual choice of an artist blazing new trails.

DKK 766.00
1

Rebels - Leerom Medovoi - Bog - Duke University Press - Plusbog.dk

Rebels - Leerom Medovoi - Bog - Duke University Press - Plusbog.dk

Holden Caulfield, the beat writers, Elvis Presley, Chuck Berry, and James Dean—these and other avatars of youthful rebellion were much more than entertainment. As Leerom Medovoi shows, they were often embraced and hotly debated at the dawn of the Cold War era because they stood for dissent and defiance at a time when the ideological production of the United States as leader of the “free world” required emancipatory figures who could represent America’s geopolitical claims. Medovoi argues that the “bad boy” became a guarantor of the country’s anti-authoritarian, democratic self-image: a kindred spirit to the freedom-seeking nations of the rapidly decolonizing third world and a counterpoint to the repressive conformity attributed to both the Soviet Union abroad and America’s burgeoning suburbs at home. Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.

DKK 240.00
1

Rebels - Leerom Medovoi - Bog - Duke University Press - Plusbog.dk

Rebels - Leerom Medovoi - Bog - Duke University Press - Plusbog.dk

Holden Caulfield, the beat writers, Elvis Presley, Chuck Berry, and James Dean—these and other avatars of youthful rebellion were much more than entertainment. As Leerom Medovoi shows, they were often embraced and hotly debated at the dawn of the Cold War era because they stood for dissent and defiance at a time when the ideological production of the United States as leader of the “free world” required emancipatory figures who could represent America’s geopolitical claims. Medovoi argues that the “bad boy” became a guarantor of the country’s anti-authoritarian, democratic self-image: a kindred spirit to the freedom-seeking nations of the rapidly decolonizing third world and a counterpoint to the repressive conformity attributed to both the Soviet Union abroad and America’s burgeoning suburbs at home. Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.

DKK 850.00
1

Financial Derivatives and the Globalization of Risk - Edward Lipuma - Bog - Duke University Press - Plusbog.dk

Financial Derivatives and the Globalization of Risk - Edward Lipuma - Bog - Duke University Press - Plusbog.dk

The market for financial derivatives is far and away the largest and most powerful market in the world, and it is growing exponentially. In 1970 the yearly valuation of financial derivatives was only a few million dollars. By 1980 the sum had swollen to nearly one hundred million dollars. By 1990 it had climbed to almost one hundred billion dollars, and in 2000 it approached one hundred trillion. Created and sustained by a small number of European and American banks, corporations, and hedge funds, the derivatives market has an enormous impact on the economies of nations—particularly poorer nations—because it controls the price of money. Derivatives bought and sold by means of computer keystrokes in London and New York affect the price of food, clothing, and housing in Johannesburg, Kuala Lumpur, and Buenos Aires. Arguing that social theorists concerned with globalization must familiarize themselves with the mechanisms of a world economy based on the rapid circulation of capital, Edward LiPuma and Benjamin Lee offer a concise introduction to financial derivatives. LiPuma and Lee explain how derivatives are essentially wagers—often on the fluctuations of national currencies—based on models that aggregate and price risk. They describe how these financial instruments are changing the face of capitalism, undermining the power of nations and perpetrating a new and less visible form of domination on postcolonial societies. As they ask: How does one know about, let alone demonstrate against, an unlisted, virtual, offshore corporation that operates in an unregulated electronic space using a secret proprietary trading strategy to buy and sell arcane financial instruments? LiPuma and Lee provide a necessary look at the obscure but consequential role of financial derivatives in the global economy.

DKK 885.00
1

Financial Derivatives and the Globalization of Risk - Edward Lipuma - Bog - Duke University Press - Plusbog.dk

Financial Derivatives and the Globalization of Risk - Edward Lipuma - Bog - Duke University Press - Plusbog.dk

The market for financial derivatives is far and away the largest and most powerful market in the world, and it is growing exponentially. In 1970 the yearly valuation of financial derivatives was only a few million dollars. By 1980 the sum had swollen to nearly one hundred million dollars. By 1990 it had climbed to almost one hundred billion dollars, and in 2000 it approached one hundred trillion. Created and sustained by a small number of European and American banks, corporations, and hedge funds, the derivatives market has an enormous impact on the economies of nations—particularly poorer nations—because it controls the price of money. Derivatives bought and sold by means of computer keystrokes in London and New York affect the price of food, clothing, and housing in Johannesburg, Kuala Lumpur, and Buenos Aires. Arguing that social theorists concerned with globalization must familiarize themselves with the mechanisms of a world economy based on the rapid circulation of capital, Edward LiPuma and Benjamin Lee offer a concise introduction to financial derivatives. LiPuma and Lee explain how derivatives are essentially wagers—often on the fluctuations of national currencies—based on models that aggregate and price risk. They describe how these financial instruments are changing the face of capitalism, undermining the power of nations and perpetrating a new and less visible form of domination on postcolonial societies. As they ask: How does one know about, let alone demonstrate against, an unlisted, virtual, offshore corporation that operates in an unregulated electronic space using a secret proprietary trading strategy to buy and sell arcane financial instruments? LiPuma and Lee provide a necessary look at the obscure but consequential role of financial derivatives in the global economy.

DKK 254.00
1