A surprising and innovative look at class that proposes new approaches to this important topic. While references to gender, race, and class are everywhere in social theory, class has not received the kind of theoretical and empirical attention accorded to gender and race. A welcome and much-needed corrective, this book offers a novel theoretical approach to class and an active practice of class analysis. The authors offer new and compelling ways to look at class through examinations of such topics as sex work, the experiences of African American women as domestic laborers, and blue- and white-collar workers. Their work acknowledges that individuals may participate in various class relations at one moment or over time and that class identities are multiple and changing, interacting with other aspects of identity in contingent and unpredictable ways. The essays in the book focus on class difference, class transformation and change, and on the intersection of class, race, gender, sexuality, and other dimensions of identity. They find class in seemingly unlikely places-in households, parent-child relationships, and self-employment-and locate class politics on the interpersonal level as well as at the level of enterprises, communities, and nations. Taken together, they will prompt a rethinking of class and class subjectivity that will expand social theory.

A surprising and innovative look at class that proposes new approaches to this important topic While references to gender, race, and class are everywhere in social theory, class has not received the kind of theoretical and empirical attention accorded to gender and race. A welcome and much-needed corrective, this book offers a novel theoretical approach to class and an active practice of class analysis. The authors offer new and compelling ways to look at class through examinations of such topics as sex work, the experiences of African American women as domestic laborers, and blue- and white-collar workers. Their work acknowledges that individuals may participate in various class relations at one moment or over time and that class identities are multiple and changing, interacting with other aspects of identity in contingent and unpredictable ways. The essays in the book focus on class difference, class transformation and change, and on the intersection of class, race, gender, sexuality, and other dimensions of identity. They find class in seemingly unlikely places-in households, parent-child relationships, and self-employment-and locate class politics on the interpersonal level as well as at the level of enterprises, communities, and nations. Taken together, they will prompt a rethinking of class and class subjectivity that will expand social theory. Contributors: Enid Arvidson, U of Texas, Arlington; Jenny Cameron, Monash U, Australia; Harriet Fraad; Janet Hotch; Susan Jahoda, U of Massachusetts, Amherst; Amitava Kumar, U of Florida; Cecilia Marie Rio; Jacquelyn Southern; Marjolein van der Veen.

This edited volume analyzes citizenship through attention to its Others, revealing the partiality of citizenship's inclusion and claims to equality by defining it as legal status, political belonging and membership rights. Established and emerging scholars explore the exclusion of migrants, welfare claimants, women, children and others.

The book analyzes Ishmael Reed [Mumbo Jumbo], Kathy Acker [The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec], and Don Delillo [White Noise], three authors whom critics cite as quintessentially postmodern. For these critics such works possess formal narrative and/or content qualities at odds with modernism. In particular, according to influential thinkers like Fredric Jameson, postmodern works possess narrative form and/or content which eschews reality, and embody a fundamental paradigm shift from the politically committed ideology of modernity and modernism to the politically relativistic ideology of postmodernity and postmodernism. The book contends that while the above authors do possess numerous so-called postmodern qualities, their critical forms and/or contents remain ethically and politically grounded. As most postmodern theory rejects such grounding, its discovery in these prototypical postmodern novels suggests problems with the postmodern category itself.

"The essays represent a selection of papers delivered at an international conference held under the title 'Europe and its Others: Interperceptions, Past, Present, Future', at St Andrews University in June 2007, under the aegis of the Institute for European Cultural Identity Studies"--Introd.

This volume brings together some of the latest research by scholars from the UK, Taiwan, and Hong Kong to examine a variety of issues relating to the history of translation between China and Europe, aimed at increasing dialogue between Chinese studies and translation studies. Covering the nineteenth century to the present, the essays tackle a number of important issues, including the role of relay translation, hybridity and transculturation, methods for the incorporation of foreign words and concepts, the problems entailed by the importation of foreign paradigms and epistemes, the role of public institutions, the issue of agency, and the role of metaphors to conceptualize translation. By examining the dissemination of certain key terms from the West to the East, often through pivotal languages, and by laying bare the transformation of knowledge conveyed through these terms, the essays go well beyond the “difference and similarity” comparison model in the investigation of East-West relations, demonstrating that transcultural hybridity is a more meaningful topic to pursue. Moreover, they demonstrate how the translator, always working simultaneously under several domestic and foreign institutions, needs to resort to “selection, deletion and compromise”, in other words personal free choice, when negotiating among institutional powers.

"[Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."—Will Straw, co-editor of Theory Rules: Art as Theory/ Theory and Art "The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." —Richard Taruskin, author of Stravinsky and the Russian Traditions: A Biography of the Works Through " Mavra" "When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identified themselves in tension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." —Susan McClary, author of Conventional Wisdom: The Content of Musical Form (2000) "This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." —Lawrence Grossberg, author of Dancing in Spite of Myself