Lawrence Grossberg, one of the most influential figures in cultural studies, assesses the mission of cultural studies as a discipline in the past, present and future

Lawrence Grossberg, one of the most influential figures in cultural studies, assesses the mission of cultural studies as a discipline in the past, present and future

Marriage globally is undergoing profound change, provoking widespread public comment and concern. Through the close ethnographic examination of case studies drawn from Africa, Asia, Europe and North America, Marriage in Past, Present and Future Tense places new and changing forms of marriage in comparative perspective as a transforming and also transformative social institution. In conditions of widespread socio-political inequality and instability, how are the personal, the familial and the political co-produced? How do marriages encapsulate the ways in which memories of past lives, present experience and imaginaries of the future are articulated? Exploring the ways that marriage draws together and distinguishes history and biography, ritual and law, economy and politics in intimate family life, this volume examines how familial and personal relations, and the ethical judgements they enfold, inform and configure social transformation. Contexts that have been partly shaped through civil wars, cold war and colonialism – as well as other forms of violent socio-political rupture – offer especially apt opportunities for tracing the interplay between marriage and politics. But rather than taking intimate family life and gendered practice as simply responsive to wider socio-political forces, this work explores how marriage may also create social change. Contributors consider the ways in which marital practice traverses the domains of politics, economics and religion, while marking a key site where the work of linking and distinguishing those domains is undertaken.

Tense Future falls into two parts. The first develops a critical account of total war discourse and addresses the resistant potential of acts, including acts of writing, before a future that looks barred or predetermined by war. Part two shifts the focus to long interwar narratives that pit both their scale and their formal turbulence against total war's portrait of the social totality, producing both ripostes and alternatives to that portrait in the practice of literary encyclopedism. The book's introduction grounds both parts in the claim that industrialized warfare, particularly the aerial bombing of cities, intensifies an under-examined form of collective traumatization: a pretraumatic syndrome in which the anticipation of future-conditional violence induces psychic wounds. Situating this claim in relation to other scholarship on "critical futurities," Saint-Amour discusses its ramifications for trauma studies, historical narratives generally, and the historiography of the interwar period in particular. The introduction ends with an account of the weak theory of modernism now structuring the field of modernist studies, and of weak theory's special suitability for opposing total war, that strongest of strong theories.

The cultural theorist and media designer Anne Balsamo calls for transforming learning practices to inspire culturally attuned technological imaginations.

In Dancing in Spite of Myself, Lawrence Grossberg--well known as a pioneering figure in cultural studies--has collected essays written over the past twenty years that have also established him as one of the leading theorists of popular culture and, specifically, of rock music. Grossberg offers an original and sophisticated view of the growing power of popular culture and its increasing inseparability from contemporary structures of economic and political power and from our everyday lives. In the course of conducting this exploration into the meaning of "popularity," he investigates the nature of fandom, the social effects of rock music and youth culture, and the possibilities for understanding the history of popular texts and practices. Describing what he calls "the postmodernity of everyday life," Grossberg offers important insights into the relation of pop music to issues of postmodernity and inton the growing power of the new cultural conservatism and its relationship to "the popular." Exploring the limits of existing theories of hegemony in cultural studies, Grossberg reveals the ways in which popular culture is being mobilized in the service of economic and political struggles. In articulating his own critical practice, Grossberg surveys and challenges some of the major assumptions of popular culture studies, including notions of domination and resistance, mainstream and marginality, and authenticity and incorporation. Dancing in Spite of Myself provides an introduction to contemporary theories of popular culture and a clear statement of relationships among theories of the nature of rock music, postmodernity, and conservative hegemony.

How is labour changing in the age of computers, the Internet, and "social media" such as Facebook, Google, YouTube and Twitter? In Digital Labour and Karl Marx, Christian Fuchs attempts to answer that question, crafting a systematic critical theorisation of labour as performed in the capitalist ICT industry. Relying on a range of global case studies--from unpaid social media prosumers or Chinese hardware assemblers at Foxconn to miners in the Democratic Republic of Congo--Fuchs sheds light on the labour costs of digital media, examining the way ICT corporations exploit human labour and the impact of this exploitation on the lives, bodies, and minds of workers.