The Anthropocene marks the age of significant human impact on the Earth’s ecosystems, dramatically underscoring the reality that human life is not separate from nature but an integral part of it. Culturally, ecologically, and socially destructive practices such as resource extraction have led to this moment of peril. These practices, however, implicate more than industrial and economic systems: they are built into the political theology of American exceptionalism, compelling us to reimagine human social and political life on Earth. American Immanence seeks to replace the dominant American political tradition, which has resulted in global social, economic, and environmental injustices, with a new form of political theology, its dominant feature a radical democratic politics. Michael S. Hogue explores the potential of a dissenting immanental tradition in American religion based on philosophical traditions of naturalism, process thought, and pragmatism. By integrating systems theory and concepts of vulnerability and resilience into the lineages of American immanence, he articulates a political theology committed to democracy as an emancipatory and equitable way of life. Rather than seeking to redeem or be redeemed, Hogue argues that the vulnerability of life in the Anthropocene calls us to build radically democratic communities of responsibility, resistance, and resilience. American Immanence integrates an immanental theology of, by, and for the planet with a radical democratic politics of, by, and for the people.

"Lurie takes particular interest in the influence of cinema on Faulkner's fiction and the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in August of stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I forget thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism."--BOOK JACKET.

Explores the how, why, and what of contemporary Chicanx culture, including punk rock, literary fiction, photography, mass graves, and digital and experimental installation art Racial Immanence attempts to unravel a Gordian knot at the center of the study of race and discourse: it seeks to loosen the constraints that the politics of racial representation put on interpretive methods and on our understanding of race itself. Marissa K. López argues that reading Chicanx literary and cultural texts primarily for the ways they represent Chicanxness only reinscribes the very racial logic that such texts ostensibly set out to undo. Racial Immanence proposes to read differently; instead of focusing on representation, it asks what Chicanx texts do, what they produce in the world, and specifically how they produce access to the ineffable but material experience of race. Intrigued by the attention to disease, disability, abjection, and sense experience that she sees increasing in Chicanx visual, literary, and performing arts in the late-twentieth century, López explores how and why artists use the body in contemporary Chicanx cultural production. Racial Immanence takes up works by writers like Dagoberto Gilb, Cecile Pineda, and Gil Cuadros, the photographers Ken Gonzales Day and Stefan Ruiz, and the band Piñata Protest to argue that the body offers a unique site for pushing back against identity politics. In so doing, the book challenges theoretical conversations around affect and the post-human and asks what it means to truly consider people of color as writersand artists. Moving beyond abjection, López models Chicanx cultural production as a way of fostering networks of connection that deepen our attachments to the material world.

Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Félix Guattari. Jan Suk explores the transformation-potentiality of the territory between the actors and the spectators, namely via Forced Entertainment’s structural patterns, sympathy provoking aesthetics, audience integration and accentuated emphasis of the now. Besides writings of Tim Etchells, the company’s director, the foci of the analyses are devised as well as durational projects of Forced Entertainment. The examination includes a wider spectrum of state-of the-art live artists, e.g. Tehching Hsieh, Franko B or Goat Island, discussed within the contemporary performance discourse. Performing Immanence: Forced Entertainment investigates how the immanent reading of Forced Entertainment’s performances brings the potentiality of creative transformative experience via the thought of Gilles Deleuze. The interconnections of Deleuze’s thought and the contemporary devised performance theatre results in the symbiotic relationship that proves that such readings are not mere academic exercises, but truly life-illuminating realizations.

Tensions of American Federal Democracy uses an original analytical framework combined with comparative perspectives – including those of other modern federal democracies – to explore the jigsaw puzzle that is the state of American federal democracy. The USA has a complex political system prone to "divided government", which has become highly polarized in recent years. The reasons for this extend further and deeper than party diversification or rising populism. This book provides an original contribution encompassing the US polity and its overall development. The author explores how the US constitution has predisposed branches and levels of government to multiple forms of separation of power and constituency; and how developments in democratic and federal government over time have fostered more competition, diffusion, and decoupling, despite earlier trends to more cross-branch and cross-level cooperation. The book thus addresses a multifaceted inquiry, interrogating and conceptualizing the connections between institutions, ideas, and political development, while exploring the interlinkage between the institutional parameters of multidimensional division of powers, constitutional political ideas and their contestation, and the limitation of the state in the US federal democratic system. This book will appeal to students and scholars of political science, American government and constitutional politics, federalism, comparative politics, and political theory.

In this innovatory book Daniel Sage analyses how and why American space exploration reproduced and transformed American cultural and political imaginations by appealing to, and to an extent organizing, the transcendence of spatial and temporal frontiers. In so doing, he traces the development of a seductive, and powerful, yet complex and unstable American geographical imagination: the ’transcendental state’. Historical and indeed contemporary space exploration is, despite some recent notable exceptions, worthy of more attention across the social sciences and humanities. While largely engaging with the historical development of space exploration, it shows how contemporary cultural and social, and indeed geographical, research themes, including national identity, critical geopolitics, gender, technocracy, trauma and memory, can be informed by the study of space exploration.

"This book is a nuanced discussion of contemporary feminist thought in a variety of religious traditions. It draws from both academic and popular writings and offers a rich selection of books to pursue on one's own." -- Re-Imagining "This remarkable book examines American women's religious thought in many diverse faith traditions.... This is a cogent, provocative -- even moving -- analysis." -- Publishers Weekly This study of the fruits of many different women's religious thought offers insights into the ways women may be shaping American religious ideas and world views at the end of the twentieth century. At its broadest, this book presents a multi-voiced response to the question: "When women across many traditions are heard speaking theologically, publicly and self-consciously as women, what do they have to say?"