Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plantation and jungle films. In addition to providing new depth and complexity to the history of black representation, Robinson examines black resistance to these practices. Whereas D. W. Griffith appropriated black minstrelsy and romanticized a national myth of origins, Robinson argues that Oscar Micheaux transcended uplift films to create explicitly political critiques of the American national myth. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.

Do we live in basically orderly societies that occasionally erupt into violent conflict, or do we fail to perceive the constancy of violence and disorder in our societies? In this classic book, originally published in 1980, Cedric J. Robinson contends that our perception of political order is an illusion, maintained in part by Western political and social theorists who depend on the idea of leadership as a basis for describing and prescribing social order. Using a variety of critical approaches in his analysis, Robinson synthesizes elements of psychoanalysis, structuralism, Marxism, classical and neoclassical political philosophy, and cultural anthropology in order to argue that Western thought on leadership is mythological rather than rational. He then presents examples of historically developed "stateless" societies with social organizations that suggest conceptual alternatives to the ways political order has been conceived in the West. Examining Western thought from the vantage point of a people only marginally integrated into Western institutions and intellectual traditions, Robinson's perspective radically critiques fundamental ideas of leadership and order.

In this ambitious work, first published in 1983, Cedric Robinson demonstrates that efforts to understand Black people's history of resistance solely through the prism of Marxist theory are incomplete and inaccurate. Marxist analyses tend to presuppose European models of history and experience that downplay the significance of Black people and Black communities as agents of change and resistance. Black radicalism, Robinson argues, must be linked to the traditions of Africa and the unique experiences of Blacks on Western continents, and any analyses of African American history need to acknowledge this. To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by Blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century Black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright. This revised and updated third edition includes a new preface by Tiffany Willoughby-Herard, and a new foreword by Robin D. G. Kelley.

'A towering achievement. There is simply nothing like it in the history of Black radical thought' Cornel West 'Cedric Robinson's brilliant analyses revealed new ways of thinking and acting' Angela Davis 'This work is about our people's struggle, the historical Black struggle' Any struggle must be fought on a people's own terms, argues Cedric Robinson's landmark account of Black radicalism. Marxism is a western construction, and therefore inadequate to describe the significance of Black communities as agents of change against 'racial capitalism'. Tracing the emergence of European radicalism, the history of Black African resistance and the influence of these on such key thinkers as W. E. B. Du Bois, C. L. R. James and Richard Wright, Black Marxism reclaims the story of a movement.

According to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of "forging" the Mona Lisa, questioning the entire concept of originality. Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Göring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged "legitimate" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries—and our reactions to them—reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again. Forgery has been much discussed—and decried—as a crime. Forged is the first book to assess great forgeries as high art in their own right.

Bart D. Ehrman, the New York Times bestselling author of Jesus, Interrupted and God’s Problem reveals which books in the Bible’s New Testament were not passed down by Jesus’s disciples, but were instead forged by other hands—and why this centuries-hidden scandal is far more significant than many scholars are willing to admit. A controversial work of historical reporting in the tradition of Elaine Pagels, Marcus Borg, and John Dominic Crossan, Ehrman’s Forged delivers a stunning explication of one of the most substantial—yet least discussed—problems confronting the world of biblical scholarship.