Contemporary discussions on nonfiction are often riddled with questions about the boundaries between truth and memory, honesty and artifice, facts and lies. Just how much truth is in nonfiction? How much is a lie? Blurring the Boundaries sets out to answer such questions while simultaneously exploring the limits of the form. This collection features twenty genre-bending essays from today's most renowned teachers and writers--including original work from Michael Martone, Marcia Aldrich, Dinty W. Moore, Lia Purpura, and Robin Hemley, among others. These essays experiment with structure, style, and subject matter, and each is accompanied by the writer's personal reflection on the work itself, illuminating his or her struggles along the way. As these innovative writers stretch the limits of genre, they take us with them, offering readers a front-row seat to an ever-evolving form. Readers also receive a practical approach to craft thanks to the unique writing exercises provided by the writers themselves. Part groundbreaking nonfiction collection, part writing reference, Blurring the Boundaries serves as the ideal book for literary lovers and practitioners of the craft.

In Blurring Boundaries: Human Security and Forced Migration scholars from law and social sciences offer a fresh view on the major issues of forced migration through the lens of human security. Although much scholarship engages with forced migration and human security independently, they have hardly been weaved together in a comprehensive manner. The contributions cover the issues of refugee law, maritime migration, human smuggling and trafficking and environmental migration. Blurring Boundaries critically engages boundaries produced in the law with the main ideas of human security, thus providing a much-needed novel vocabulary for a critical discourse in forced migration studies.

This book communicates the power and importance of sociological thinking to major, worldwide trends.

This book is about the fundamental meaning of my practice: the impossibility of defining boundaries in contemporary times in terms of language as idiom or artistic media, or in terms of nationality or identity, which remain especially relevant issues for those who migrate for family, work, religious, ethnic or political reasons.My work deals with the construction of heteroclite figures, residues of diverse personal experiences, represented on one hand by appropriation -- which I do not treat as a conceptual practice, but instead as a sort of safe way to work between the diverse environments in which I am a foreigner -- and, on the other hand, by a syncretic coexistence of diverse lines of thought and practices with which I build my identity and culture.

Examines the overlap and blurring of boundaries among humans, animals, and machines.

Far from being the latest movement or a new development in contemporary art, installation art, one could argue, is only the most recent manifestation of the oldest tradition in art, going as far back as the prehistoric paintings on cave walls at Lascaux. Fundamental to this work are its habitation and incorporation of a physical site, a connection to real conditions - be they visual, historical, or social - and often, a bridging of traditional art boundaries. The aesthetic power of installation art does not reside in the singular, commodified object but rather in the artwork's ability to become, not merely represent, the continuum of real experience. Blurring the Boundaries examines the subject of installation art through the permanent collection and exhibition record of the Museum of Contemporary Art, San Diego, an institution with a unique heritage in support of such art dating back to the 1960s.

Blurred Boundaries explores decisive moments when the traditional boundaries of fiction/nonfiction, truth and falsehood blur. Nichols argues that a history of social representation in film, television and video requires an understanding of the fate of both contemporary and older work. Traditionally, film history and cultural studies sought to place films in a historical context. Nichols proposes a new goal: to examine how specific works, old and new, promote or suppress a sense of historical consciousness. Examining work from Eisenstein's Strike to the Rodney King videotape, Nichols interrelates issues of formal structure, viewer response and historical consciousness. Simultaneously, Blurred Boundaries radically alters the interpretive frameworks offered by neo-formalism and psychoanalysis: Comprehension itself becomes a social act of transformative understanding rather than an abstract mental process while the use of psychoanalytic terms like desire, lack, or paranoia to make social points metaphorically yields to a vocabulary designed expressly for historical interpretation such as project, intentionality and the social imaginary. An important departure from prevailing trends in many fields, Blurred Boundaries offers new directions for the study of visual culture.