The Avowal of Difference explores the potentialities and limitations that queer theory offers in the context of Latino American texts and subjects. Ben. Sifuentes-Jáuregui contrasts Latino American sexual genealogies with the Anglo-European "coming out" narrative—and interrogates the centrality of the "coming out" story as the regulating metaphor for gay, lesbian, or queer identities. In its place, the book looks at other strategies—from silence to circumlocution, from disavowal to indifference—to theorize queer subject formation in a Latino American cultural context. The analysis of texts by José Lezama Lima, Luis Zapata, Manuel Puig, Severo Sarduy, Junot Díaz, and others offers a comparative approach to understanding how queer sexualities are shaped and written in other cultural contexts.

Gray Matters is a thorough examination of the main topics in recent philosophy of mind. It aims at surveying a broad range of issues, not all of which can be subsumed under one position or one philosopher's theory. In this way, the authors avoid neglecting interesting issues out of allegiance to a given theory of mind.

Recent critically and commercially acclaimed Latin American films such as XXY, Contracorriente, and Plan B create an affective and bodily connection with viewers that elicits in them an emotive and empathic relationship with queer identities. Referring to these films as New Maricón Cinema, Vinodh Venkatesh argues that they represent a distinct break from what he terms Maricón Cinema, or a cinema that deals with sex and gender difference through an ethically and visually disaffected position, exemplified in films such as Fresa y chocolate, No se lo digas a nadie, and El lugar sin límites. Covering feature films from Argentina, Chile, Cuba, Ecuador, Mexico, Peru, the United States, and Venezuela, New Maricón Cinema is the first study to contextualize and analyze recent homo-/trans-/intersexed-themed cinema in Latin America within a broader historical and aesthetic genealogy. Working with theories of affect, circulation, and orientations, Venkatesh examines key scenes in the work of auteurs such as Marco Berger, Javier Fuentes-León, and Julia Solomonoff and in films including Antes que anochezca and Y tu mamá también to show how their use of an affective poetics situates and regenerates viewers in an ethically productive cinematic space. He further demonstrates that New Maricón Cinema has encouraged the production of “gay friendly” commercial films for popular audiences, which reflects wider sociocultural changes regarding gender difference and civil rights that are occurring in Latin America.

Proposes a queer way to be in the world and with others Invoking queer aesthetics, ethics, and politics, Bottoms Up explores a sexual way to be with others while living with loss. Xiomara Cervantes-Gómez demonstrates how aesthetic representations of sex—namely, bottoming—function as allegorical paradigms, revealing the assemblages of violence that have constituted the social, cultural, and political shifts of Mexico and US Latinx culture from 1950 to the present. With playful, theoretically nuanced prose, Cervantes-Gómez builds upon queer of color theory and continental philosophy to present the “bottom” as a form of relational performance, which she terms “pasivo ethics.” The argument develops through a series of compelling case studies, including a series of novels by Octavio Paz and Luis Zapata that trace the position of the bottom in Mexican nationalist literature; the forms of exposure, risk, and proximity in the performance work of artist Lechedevirgen Trimegisto; a reading of violence and the erotic in the work of artist Bruno Ramri; and reading artists such as Yosimar Reyes, Yanina Orellana, and Carlos Martiel as they build a framework of sexual inheritance that carries the traumas of Mexicanness into the diaspora. Through a broad archive rooted in hemispheric Latinx performance, Bottoms Up considers how sexual and political power are bound up with each other in the shaping of Mexicanness. Placing particular emphasis on questions of queer and trans Mexican embodiment, the book explains how Mexicanness is constituted through discourses of exposure.

Provides a timely and original contribution to the debate surrounding privileged self-knowledge Contemporary epistemologists and philosophers of mind continue to find puzzling the nature and source of privileged self-knowledge: the ordinary and effortless ‘first-person’ knowledge we have of our own sensations, moods, emotions, beliefs, desires, and hopes. In Expression and Self-Knowledge, Dorit Bar-On and Crispin Wright articulate their joint dissatisfaction with extant accounts of self-knowledge and engage in a sustained and substantial critical debate over the merits of an expressivist approach to the topic. The authors incorporate cutting-edge research while defending their own alternatives to existing approaches to so-called ‘first-person privilege’. Bar-On defends her neo-expressivist account, addressing the objection that neo-expressivism fails to provide an adequate epistemology of ordinary self-knowledge, and addresses new objections levelled by Wright. Wright then presents an alternative pluralist approach, and Bar-On argues in response that pluralism faces difficulties neo-expressivism avoids. Providing invaluable insights on a hotly debated topic in epistemology and philosophy of mind, Expression and Self-Knowledge: Presents an in-depth debate between two leading philosophers over the expressivist approach Offers novel developments and penetrating criticisms of the authors' respective views Features two different perspectives on the influential remarks on expression and self-knowledge found in Wittgenstein’s later writings Includes four jointly written chapters that offer a critical overview of prominent existing accounts, which provide a useful advanced introduction to the subject. Expression and Self-Knowledge is essential reading for epistemologists, philosophers of mind and language, psychologists with an interest in self-knowledge, and researchers and graduate students working in expression, expressivism, and self-knowledge.

Imagine a human society, perhaps in pre-history, in which people were generally of a psychological kind with us, had the use of natural language to communicate with one another, but did not have any properly moral concepts in which to exhort one another to meet certain standards and to lodge related claims and complaints. According to The Birth of Ethics, the members of that society would have faced a set of pressures, and made a series of adjustments in response, sufficient to put them within reach of ethical concepts. Without any planning, they would have more or less inevitably evolved a way of using such concepts to articulate desirable patterns of behavior and to hold themselves and one another responsible to those standards. Sooner or later, they would have entered ethical space. While this central claim is developed as a thesis in conjectural history or genealogy, the aim of the exercise is philosophical. Assuming that it explains the emergence of concepts and practices that are more or less equivalent to ours, the story offers us an account of the nature and role of morality. It directs us to the function that ethics plays in human life and alerts us to the character in virtue of which it can serve that function. The emerging view of morality has implications for the standard range of questions in meta-ethics and moral psychology, and enables us to understand why there are divisions in normative ethics like that between consequentialist and Kantian approaches.