This book examines strategies of transformation (becomings, image-making, and the phantasmagoric) that figure in four stories and a novel by Gothic fiction writer Pilar Pedraza (Spain, 1951). While critics have long associated the Bildungsroman with Gothic fiction, this study takes a close look at the developmental process itself: the means by which a protagonist, young or old, might transcend a deprived status to achieve a complete sense of self. Pedraza's works imply that, regardless of the path followed, a character's ability to think differently is crucial to progress. The fixed image, representative of an inflexible, socially determined mindset, arises as an obstacle to maturation. In "Días de perros," for example, a triangular arrangement of coins in a cigar box elucidates the connection between individual lives and the social order or assemblage. Literary texts, such as this one, serve as collective assemblages of enunciation, capable of exposing fixed images as powerful instruments of control. "Tristes Ayes del Águila Mejicana" discovers fixed images among the icons of Colonial Spain's exequias reales, used in this case to territorialize the evolving identity of indigenous peoples. The territory thatPedraza's fictionbest illuminates is, in reality, the image. When images remain fixed or territorialized, they uncannily infect the assemblages over which they exert influence. Placing emphasis on images that impact women, Pedraza, in "Anfiteatro," for example, deconstructs "cat woman," which, albeit a potentially subversive image in its early manifestations, eventually ceases to empower the feminine, lashing it, rather, to a burdensome stereotype. Territorialized, the feminine must, then, break free from the image in order to discover representations more capable of illuminating present-day challenges. The phrase "dark assemblages," drawn from Deleuze and Guattari's A Thousand Plateaus, gestures toward societal stagnation as a decisive factor in individual evolvement. Gothic fiction represents an uneven landscape, in that it tenders the possibility of a social critique yet, equally well, lends itself to the exclusion of specific identities and practices that society brands as anomalous. Pedraza's Gothic fiction is, indeed, subversive, in that it offers readers original perceptions of modern day people and the assemblages, dark or otherwise, to which they belong.

French philosopher Gilles Deleuze is known as a thinker of creation, joyous affirmation, and rhizomatic assemblages. In this short book, Andrew Culp polemically argues that this once-radical canon of joy has lost its resistance to the present. Concepts created to defeat capitalism have been recycled into business mantras that joyously affirm “Power is vertical; potential is horizontal!” Culp recovers the Deleuze’s forgotten negativity. He unsettles the prevailing interpretation through an underground network of references to conspiracy, cruelty, the terror of the outside, and the shame of being human. Ultimately, he rekindles opposition to what is intolerable about this world. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, “assemblage” is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept’s uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages.

Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

First published in 1997, Alain Badiou's Deleuze: The Clamor of Being cast Gilles Deleuze as a secret philosopher of the One. In this work, Clayton Crockett rehabilitates Deleuze's position within contemporary political and philosophical thought, advancing an original reading of the thinker's major works and a constructive conception of his philosophical ontology. Through close readings of Deleuze's Difference and Repetition, Capitalism and Schizophrenia (with Felix Guattari), and Cinema 2, Crockett argues that Deleuze is anything but the austere, quietistic, and aristocratic intellectual Badiou had portrayed. Instead, Crockett underscores Deleuze's radical aesthetics and innovative scientific, political, and mathematical forms of thought. He also refutes the notion Deleuze retreated from politics toward the end of his life. Using Badiou's critique as a foil, Crockett maintains the profound continuity of Deleuze's work and builds a general interpretation of his more obscure formulations.

Assembling Past Worlds draws on new materialism and the philosophy of Gilles Deleuze to explore the potential for a posthumanist archaeology. Through specific empirical study, this book provides a detailed analysis of Neolithic Britain, a critical moment in the emergence of new ways of living, as well as new relationships between materials, people and new forms of architecture. It achieves two things. First, it identifies the major challenges that archaeology faces in the light of current theoretical shifts. New ideas place new demands on how we write and think about the past, sometimes in ways that can seem contradictory. This volume identifies seven major challenges that have emerged and sets out why they matter, why archaeology needs to engage with them and how they can be dealt with through an innovative theoretical approach. Second, it explores how this approach meets these challenges through an in-depth study of Neolithic Britain. It provides an insightful diagnosis of the issues posed by current archaeological thought and is the first volume to apply the philosophy of Gilles Deleuze to the extended analysis of a single period. Assembling Past Worlds shows how new approaches are transforming our understandings of past worlds and, in so doing, how we can meet the challenges facing archaeology today. It will be of interest to both students and researchers in archaeological theory and the Neolithic of Europe.