Provides an incisive account of women’s porn and queer porn of the 1980s and 1990s. Explicit Utopias explores a problem that has long haunted feminist, lesbian, and queer critics: the obstacles to imagining women’s desire and sexual agency. Pornography is one arena in which women have actively sought to imaginatively overcome this problem, yet pornography has also been an object of passionate feminist contention. Revisiting the feminist sex wars of the 1980s, Amalia Ziv offers a comprehensive and thoughtful reassessment of the arguments and concerns of both camps, tying these early debates to the contemporary surge of concern over the pornification of culture. She also sets out to rectify the lack of critical attention to marginal sexual representations by examining the feminist, queer, and psychoanalytic literature on several key issues, including fantasy, the phallus, identification, and gender performativity.

The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O’Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future. In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

Introduction -- The arts and social change -- The power of utopian thinking -- Transforming society -- Music education and utopia -- Conclusion.

Why are we so obsessed by the pursuit of happiness? With new ways to measure contentment we are told that we have a right to individual joy. But at what cost? In an age of increasing individualism, we have never been more alone and miserable. But what if the true nature of happiness can only be found in others? In Radical Happiness, leading feminist thinker Lynne Segal believes that we have lost the art of radical happiness- the art of transformative, collective joy. She shows that only in the revolutionary potential of coming together it is that we can come to understand the powers of flourishing. Radical Happiness is a passionate call for the re-discovery of the political and emotional joy that emerge when we learn to share our lives together.

Environmentalism has relentlessly warned about the dire consequences of abusing and exploiting the planet's natural resources, imagining future wastelands of ecological depletion and social chaos. But it has also generated rich new ideas about how humans might live better with nature. Green Utopias explores these ideas of environmental hope in the post-war period, from the environmental crisis to the end of nature. Using a broad definition of Utopia as it exists in Western policy, theory and literature, Lisa Garforth explains how its developing entanglement with popular culture and mainstream politics has shaped successive green future visions and initiatives. In the face of apocalyptic, despairing or indifferent responses to contemporary ecological dilemmas, utopias and the utopian method seem more necessary than ever. This distinctive reading of green political thought and culture will appeal across the social sciences and humanities to all interested in why green utopias continue to matter in the cultivation of ecological values and the emergence of new forms of human and non-human well-being.

The Bible contains passages that allow both scholars and believers to project their hopes and fears onto ever-changing empirical realities. By reading specific biblical passages as utopia and dystopia, this volume raises questions about reconstructing the past, the impact of wishful imagination on reality, and the hermeneutic implications of dealing with utopia – “good place” yet “no place” – as a method and a concept in biblical studies. A believer like William Bradford might approach a biblical passage as utopia by reading it as instructions for bringing about a significantly changed society in reality, even at the cost of becoming an oppressor. A contemporary biblical scholar might approach the same passage with the ambition of locating the historical reality behind it – finding the places it describes on a map, or arriving at a conclusion about the social reality experienced by a historical community of redactors. These utopian goals are projected onto a utopian text. This volume advocates an honest hermeneutical approach to the question of how reliably a past reality can be reconstructed from a biblical passage, and it aims to provide an example of disclosing – not obscuring – pre-suppositions brought to the text.

The Revival of Political Imagination offers a unique examination of the methodological aspects of utopia. Discussing utopia as a tool for social criticism, method and imaginative spaces - rather than in terms of its content - this volume analyses the function of utopias, to develop utopias as methodology and to show how instrumental utopian modes of thought can be in such diverse fields such as education, labour, and housing. Including discussions of traditional and contemporary utopias, as well as various forms of expression of utopian hope, from literature to social science and cultural practices, The Revival of Political Imagination is both analytical and practical in its elucidation of how political theory can function to foster our imaginative skills.