Winner of the American Comparative Literature Association's Rene Wellek Prize (2004) As one of the founding poets and editors of the Language School of poetry and one of its central theorists, Barrett Watten has consistently challenged the boundaries of literature and art. In The Constructivist Moment, he offers a series of theoretically informed and textually sensitive readings that advance a revisionist account of the avant-garde through the methodologies of cultural studies. His major topics include American modernist and postmodern poetics, Soviet constructivist and post-Soviet literature and art, Fordism and Detroit techno—each proposed as exemplary of the social construction of aesthetic and cultural forms. His book is a full-scale attempt to place the linguistic turn of critical theory and the self-reflexive foregrounding of language by the avant-garde since the Russian Formalists in relation to the cultural politics of postcolonial studies, feminism, and race theory. As such, it will provide a crucial revisionist perspective within modernist and avant-garde studies.

Provocative cultural readings of avant-garde literature and art.

It has been variously labelled ‘Language Poetry’, ‘Language Writing’, ‘L=A=N=G=U=A=G=E writing’ (after the magazine that ran from 1978 to 1981), and ‘language-centred writing’. It has been placed according to its geographical positions, on East or West coasts; its venues in small magazines, independent presses and performance spaces, and its descent from historical precursors, be they the Objectivists, the composers-by-field of the Black Mountain School, the Russian Constructivists or American modernism à la William Carlos Williams and Gertrude Stein. Indeed, one of the few statements that can be made about it with little qualification is that ‘it’ has both fostered and endured a crisis in representation more or less since it first became visible in the 1970s. In Poetry & Language Writing David Arnold grasps the nettle of Language poetry, reassessing its relationship with surrealism and providing a scholarly, intelligent way of understanding the movement. Poets discussed include Charles Bernstein, Susan Howe, Michael Palmer and Barrett Watten.

This volume brings together leading scholars in urban education to focus on inner city matters, specifically as they relate to educational research, theory, policy, and practice. Each chapter provides perspectives on the history and evolving nature of urban education, the current education landscape, and helps chart an all-important direction for future work and needs. The Handbook addresses seven areas that capture the breadth and depth of available knowledge in urban education: (1) Psychology, Health and Human Development, (2) Sociological Perspectives, (3) Families and Communities, (4) Teacher Education and Special Education, (5) Leadership, Administration and Leaders, (6) Curriculum & Instruction, and (7) Policy and Reform.

The book examines philosophical and sociological approaches within critical theory and more widely from the vantage point of communicative reason. It seeks to revitalize the sociological dimension of critical theory by advancing a critical sociology of reason. It does so fully in the knowledge that reason is a contentious concept in sociology and other disciplines. Nonetheless, building on Habermas’s original insight, it argues that an extensively modified version of communicative reason is indispensable. This modified approach will draw extensively from Peirce’s pragmatist semiotics and critical cognitive sociology. Such a focus has significant implications for meta-theoretical, theoretical-empirical, and methodological approaches in critical theory, critical sociology, and related disciplines. This book will be of interest to readers in the social sciences, humanities, and philosophy who value the importance of a social theory of a reasonable society for their disciplines and for increasingly essential interdisciplinary activities. The book will also appeal to many in critical theory and beyond who are interested in the cognitive foundations of normative orders, including unjust or pathological as well as actually or potentially just foundations. The book emphasizes both validity and critique within communicative reason and critical theory and accordingly presents a distinctive perspective on critical-reconstructive research.

In-Between God explores three important areas for contemporary Christianity: theology, community and discipleship. Part One inquires into the rhythms of faith as it interacts with themes of uncertainty and doubt, the nature of theological discourse, the task of systematic theology, evangelism and the various ways in which theology is done. Part Two discusses the importance of place in relation to the church, and themes of innovation, undecideability and new forms of monastic community. Part Three addresses themes in discipleship: simplicity, mysticism, the passions and pilgrimage. A red thread connecting these essays is the character of the triune God who is the energy and life in between all things.

Based on rare archival material and numerous interviews with practitioners, Art in the North of England 1979-2008 analyses the relation between political and economic changes stemming from the 1980s and artistic developments in the principal cities of the North of England in the late 20th century. Looking in particular at the art scenes of Liverpool, Manchester, Leeds, Sheffield and Newcastle, Gabriel Gee unveils a set of powerful aesthetic reactions to industrial change and urban reconstruction during this period on the part of artists including John Davies, Pete Clarke, the Amber collective, Richard Wilson, Karen Watson, Nick Crowe & Ian Rawlinson, John Kippin, and the contribution of organisations such as Projects UK/Locus +, East Street Arts, the Henry Moore Sculpture Trust and the Bluecoat Gallery in Liverpool. While the geographical focus of this study is highly specific, a key concern throughout is the relationship between regional, national and international artistic practices and identities. Of interest to all scholars and students concerned with the developments of British art in the second half of the 20th century, the study is also of direct pertinence to observers of global narratives, which are here described and analysed through the concept of trans-industriality.