Sheds new light on the memoir boom by asking: Is the genre basically about disability?

How do we live ethically? What role do sex and race play in living or being ethically? Can ethics lead to ontology? Can literature play a role in ethical being? Drawing extensively on the work of Luce Irigaray, Frantz Fanon, and Martin Heidegger, Penelope Ingram argues that ethical questions must be understood in light of ontological ones. It is only when sexual and racial difference are viewed at an ontological level that ethics is truly possible. Central to the connection between ontology and ethics is the role of language. Ingram revisits the relationship between representation and matter in order to advance a theory of material signification. She examines a number of twentieth-century film and literary texts, including Neil Jordan's The Crying Game, J. M. Coetzee's Foe, Toni Morrison's Paradise, and Don DeLillo's The Body Artist, to demonstrate that material signification, rather than representation, is crucial to our experience of living authentically and achieving an ethical relation with the Other. By attending closely to Heidegger's, Irigaray's, and Fanon's positions on language, this original work argues that the literary text is indispensable to a "revealing" of the relationship between ontology and ethics, and through it, the reader can experience a state of "authentic Being ethically."

"Brain, Mind and the Signifying Body" is an exploration of a multimodal theory of cognitive science. Using linguistic theories first developed by Saussure and more latterly by M. A. K. Halliday, Paul Thibault analyses how social and biological systems interact to produce meaning. This fascinating study will be of interest to undergraduates and academics researching cognitive linguistics and advanced semiotics. The book engages with the current dialogue between the human and life sciences to ask questions about the relationship between the physical, biological aspects of a human being, and the sociocultural framework in which a human being exists. Paul J. Thibault argues that we need to understand both the semiotic, discursive nature of meaning making, and the physical context in which this activity takes place. The two are inseparable, and hence the only way we can understand our subjective experience of our environment and our perceptions of our inner states of mind is by giving equal weight to both frameworks. This 'ecosocial semiotic' theory engages with linguistics, semiotics, activity theory, biology and psychology. In so doing, the book produces a new way of looking at how a human being makes sense of his or her environment, but also how this environment shapes such meanings.

Human Rights and the Body is a response to the crisis in human rights, to the very real concern that without a secure foundation for the concept of human rights, their very existence is threatened. While there has been consideration of the discourses of human rights and the way in which the body is written upon, research in linguistics has not yet been fully brought to bear on either human rights or the body. Drawing on legal concepts and aspects of the law of human rights, Mooney aims to provide a universally defensible set of human rights and a foundation, or rather a frame, for them. She argues that the proper frames for human rights are firstly the human body, seen as an index reliant on the natural world, secondly the globe and finally, language. These three frames generate rights to food, water, sleep and shelter, environmental protection and a right against dehumanization. This book is essential reading for researchers and graduate students in the fields of human rights and semiotics of law.

Since independence from Spain, a trope has remained pervasive in Latin America’s republican imaginary: that of an endless antagonism pitting civilization against barbarism as irreconcilable poles within which a nation’s life unfolds. This book apprehends that trope not just as the phantasmatic projection of postcolonial elites fearful of the popular sectors but also as a symptom of a stubborn historical predicament: the cyclical insistence with which the subaltern populations menacingly return to the nation’s public spaces in the form of crowds. Focused on Venezuela but relevant to the rest of Latin America, and drawing on a rich theoretical literature including authors like Derrida, Foucault, Lacoue-Labarthe, Nancy, Lyotard, Laclau, Taussig, and others, Dancing Jacobins is a genealogical investigation of the intrinsically populist “monumental governmentality” that in response to this predicament began to take shape in that nation at the time of independence. Informed by a Bolivarian political theology, the nation’s representatives, or “dancing Jacobins,” recursively draw on the repertoire of busts, portraits, and equestrian statues of national heroes scattered across Venezuela in a montage of monuments and dancing—or universal and particular. They monumentalize themselves on the stage of the polity as a ponderously statuesque yet occasionally riotous reflection of the nation’s general will. To this day, the nervous oscillation between crowds and peoplehood intrinsic to this form of government has inflected the republic’s institutions and constructs, from the sovereign “people” to the nation’s heroic imaginary, its constitutional texts, representative figures, parliamentary structures, and, not least, its army. Through this movement of collection and dispersion, these institutions are at all times haunted and imbued from within by the crowds they otherwise set out to mold, enframe, and address.

Television and the Embodied Viewer appraises the medium’s capacity to evoke sensations and bodily feelings in the viewer. Presenting a fresh approach to television studies, the book examines the sensate force of onscreen bodies and illustrates how TV’s multisensory appeal builds viewer empathy and animates meaning. The book draws extensively upon interpretive viewpoints in the humanities to shed light on a range of provocative television works, notably The Americans, Mad Men, Little Women: LA, and Six Feet Under, with emphasis on the dramatization of gender, disability, sex, childbearing, and death. Advocating a biocultural approach that takes into account the mind sciences, Cassidy argues that interpretive meanings, shaped within today’s dynamic cultural matrix, are amplified by somatic experience. At a time when questions of embodiment and affect are crossing disciplines, this book will appeal to scholars and students working in the fields of television, film, and media studies, both in the humanities and cognitive traditions.

Autobiography is one of the most dynamic and quickly-growing genres in contemporary comics and graphic narratives. In Serial Selves, Frederik Byrn Køhlert examines the genre’s potential for representing lives and perspectives that have been socially marginalized or excluded. With a focus on the comics form’s ability to produce alternative and challenging autobiographical narratives, thematic chapters investigate the work of artists writing from perspectives of marginality including gender, sexuality, disability, and race, as well as trauma. Interdisciplinary in scope and attuned to theories and methods from both literary and visual studies, the book provides detailed formal analysis to show that the highly personal and hand-drawn aesthetics of comics can help artists push against established narrative and visual conventions, and in the process invent new ways of seeing and being seen. As the first comparative study of how comics artists from a wide range of backgrounds use the form to write and draw themselves into cultural visibility, Serial Selves will be of interest to anyone interested in the current boom in autobiographical comics, as well as issues of representation in comics and visual culture more broadly.