This volume records a critic's three decades of thinking about the connection between literature and the conditions of people's lives. A preference for impurity and a search for how to explain it are threads in this book as its chapters pursue the entanglements of culture, politics, and society from which great literature arises.

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How are the worlds of university biology and commerce blurring? Many university leaders see the amalgamation of academic and commercial cultures as crucial to the future vitality of higher education in the United States. In Impure Cultures, Daniel Lee Kleinman questions the effect of this blending on the character of academic science. Using data he gathered as an ethnographic observer in a plant pathology lab at the University of Wisconsin–Madison, Kleinman examines the infinite and inescapable influence of the commercial world on biology in academia today. Contrary to much of the existing literature and common policy practices, he argues that the direct and explicit relations between university scientists and industrial concerns are not the gravest threat to academic research. Rather, Kleinman points to the less direct, but more deeply-rooted effects of commercial factors on the practice of university biology. He shows that to truly understand research done at universities today, it is first necessary to explore the systematic, pervasive, and indirect effects of the commercial world on contemporary academic practice.

Impure Migration investigates the period from the 1890s until the 1930s, when prostitution was a legal institution in Argentina and the international community knew its capital city Buenos Aires as the center of the sex industry. At the same time, pogroms and anti-Semitic discrimination left thousands of Eastern European Jewish people displaced, without the resources required to immigrate. For many Jewish women, participation in prostitution was one of very few ways they could escape the limited options in their home countries, and Jewish men facilitate their transit and the organization of their work and social lives. Instead of marginalizing this story or reading it as a degrading chapter in Latin American Jewish history, Impure Migration interrogates a complicated social landscape to reveal that sex work is in fact a critical part of the histories of migration, labor, race, and sexuality.

What do you associate with chemistry? Explosions, innovative materials, plastics, pollution? The public's confused and contradictory conception of chemistry as basic science, industrial producer and polluter contributes to what we present in this book as chemistry's image as an impure science. Historically, chemistry has always been viewed as impure both in terms of its academic status and its role in transforming modern society. While exploring the history of this science we argue for a characteristic philosophical approach that distinguishes chemistry from physics. This reflection leads us to a philosophical stance that we characterise as operational realism. In this new expanded edition we delve deeper into the questions of properties and potentials that are so important for this philosophy that is based on the manipulation of matter rather than the construction of theories./a

Impure Cinema goes back to Bazin's original title precisely for its defence of impurity, applying it on the one hand to cinema's interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favourable approaches to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all sorts. Impure Cinema builds on this idea in novel and exciting ways, as it draws on cinema's combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinefiles and students of the arts will discover here unexpected connections across many artistic practices.