Taking interdisciplinary and diverse approaches, these thirteen essays explore the multifaceted relationship between performance and history. By considering performance as both a useful frame for understanding historical practices and a mode of historical production itself--performance in history and performance as history--the contributors chart new directions in such fields as cultural studies, contemporary historiography, museum studies, and life narrative research. Geographically and chronologically, the collection's sweep is broad--ranging from the nineteenth century to the present, from Victorian theater to commissions of inquiry in Kenya, from dissent in post-Soviet Lithuania to plantation tours in the American South. Together, the essays make up a work that is truly interdisciplinary in breadth and focus. By combining the methodologies of history and performance studies, the contributors illuminate the structure and function of cultural production in all its forms. The contributors are Michael S. Bowman, Ruth Laurion Bowman, Elizabeth Gray Buck, Kay Ellen Capo, David William Cohen, Tracy Davis, Kirk W. Fuoss, Shannon Jackson, D. Soyini Madison, Carol Mavor, E. S. Atieno Odhiambo, Della Pollock, Jeffrey H. Richards, and Joseph R. Roach.

This monograph explicitly determines the "orbit structure" of all irreducible hermitian symmetric (IHS) spaces in a unified way by means of Lie algebra calculations, using J. Tits' models of the Lie algebras [script]e6 and [script]e7 in the two "exceptional" cases. An introduction to the theory of hermitian symmetric spaces is included, along with an elementary exposition of the facts from nonassociative algebra needed to understand and use Tits' constructions of all the complex exceptional simple Lie algebras and their real forms

During periods of intense conflict, either at home or abroad, governments enact emergency powers in order to exercise greater control over the society that they govern. The expectation though is that once the conflict is over, these emergency powers will be lifted. An Exceptional Law showcases how the emergency law used to repress labour activism during the First World War became normalized with the creation of Section 98 of the Criminal Code, following the Winnipeg General Strike. Dennis G. Molinaro argues that the institutionalization of emergency law became intricately tied to constructing a national identity. Following a mass deportation campaign in the 1930s, Section 98 was repealed in 1936 and contributed to the formation of Canada’s first civil rights movement. Portions of it were used during the October Crisis and recently in the Anti-Terrorism Act of 2015. Building on the theoretical framework of Agamben, Molinaro advances our understanding of security as ideology and reveals the intricate and codependent relationship between state-formation, the construction of liberal society, and exclusionary practices.

Simultaneously analysing the restructuring of urban governance and the transformation of national states under globalising capitalism, 'New State Spaces' is a mature analysis of broad interdisciplinary interest.

Urban Comics: Infrastructure and the Global City in Contemporary Graphic Narratives makes an important and timely contribution both to comics studies and urban studies, offering a decolonisation and reconfiguration of both of these already interdisciplinary fields. With chapter-length discussions of comics from cities such as Cairo, Cape Town, New Orleans, Delhi and Beirut, this book shows how artistic collectives and urban social movements working across the global South are producing some of the most exciting and formally innovative graphic narratives of the contemporary moment. Throughout, the author reads an expansive range of graphic narratives through the vocabulary of urban studies to argue that these formal innovations should be thought of as a kind of infrastructure. This ‘infrastructural form’ allows urban comics to reveal that the built environments of our cities are not static, banal, or depoliticised, but rather highly charged material spaces that allow some forms of social life to exist while also prohibiting others. Built from a formal infrastructure of grids, gutters and panels, and capable of volumetric, multi-scalar perspectives, this book shows how urban comics are able to represent, repair and even rebuild contemporary global cities toward more socially just and sustainable ends. Operating at the intersection of comics studies and urban studies, and offering large global surveys alongside close textual and visual analyses, this book explores and opens up the fascinating relationship between comics and graphic narratives, on the one hand, and cities and urban spaces, on the other.

International Politics and Film introduces readers to the representational qualities of film but also draws attention to how the relationship between the visual and the spatial is constitutive of international politics. Using four themes – borders, the state of exception, homeland and distant others – the territorial and imaginative dimensions of international affairs in particular are highlighted. But theis volume also makes clear that international politics is not just something 'out there'; film helps us better understand how it is also part of everyday life within the state – affecting individuals and communities in different ways depending on axes of difference such as gender, race, class, age, and ethnicity.

The aesthetic exception theorises anew the relation between art and politics. It challenges critical trends that discount the role of aesthetic autonomy, to impulsively reassert art as an effective form of social engagement. But it equally challenges those on the flipside of the efficacy debate, who insist that art’s politics is limited to a recondite space of ‘autonomous resistance’. The book shows how each side of the efficacy debate overlooks art’s exceptional status and its social mediations. Mobilising philosophy and cultural theory, and employing examples from visual art, performance, and theatre, it proposes four alternative tests to ‘effect’ to offer a nuanced account of art’s political character. Those tests examine how art relates to politics as a practice that articulates its historical conjuncture, and how it prefigures the ‘new’ through simulations capable of activating the political life of the spectator.