The Bedouin, or 'desert dwellers', have a rich cultural heritage often expressed through music and poetry. Here, Moneera Al-Ghadeer provides us with the first comparative reading of women's oral poetry from Saudi Arabia. She examines women's lyrics of love, desire, mourning and grievance. We come to understand Bedouin mores and - most significantly - the unique description of a desert that is consistently held to be infinite, evocative, stimulating and an eternal freedom. As the first English translation and analysis of this poetry, "Desert Voices" is both a gesture to preserving the oral poetic tradition of Bedouin women and a radical critique addressing the exclusion of their poetry from current academic literary studies. The book provides invaluable material for reflection in the debates around oral culture and women's poetic composition while it translates, presents and critically examins a genre, which opens Arabic poetry and literature to contemporary theory and criticism.

In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counter-intuitively, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book's theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates over relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.

A scholarly volume devoted to an understanding of contemporary nomadic and pastoral societies in the Middle East and North Africa. This volume recognizes the variable mobile quality of the ways of life of these societies which persist in accommodating the ‘nation-state’ of the 20th and 21st century but remain firmly transnational and highly adaptive. Composed of four sections around the theme of contestation it includes examinations of contested authority and power, space and social transformation, development and economic transformation, and cultures and engendered spaces.

The current volume is comparative and inter-disciplinary, and it provides a reflection on what thinking might become after Heidegger’s philosophy. Its aim is to critically expand the current field of research by presenting unfamiliar and unchartered avenues that will guide and carry the Heidegger scholarship into the twenty-first century. By doing so, it addresses fundamental questions in the Heideggerian scholarship, including its problems, restraints, and future direction. It also engages and broadens the increasingly disparate approaches to Heidegger’s work, whether those approaches are traditional in their employment of phenomenology and hermeneutics or whether they apply to Heidegger’s thinking in new and surprising ways. The first section of the volume emphasizes the importance of methodology for the future of Heidegger studies while the second section examines the historical, ethical and vocal-poetical in Heidegger’s thought and draws conclusions relevant to the Heidegger scholar of today. The final section demonstrates Heidegger’s appeal to a variety of other discourses besides philosophy and the way his thinking could be creatively approached, utilized and implemented in our century. Contributions come from cutting-edge scholars such as Babette E. Babich, Dermot Moran, François Raffoul and Trish Glazebrook.

Examining the privileged relation of women to the singing voice in nineteenth-century literary works, the author argues for an emerging identification between women and artifice in the period. Beginning with texts by Rousseau and Proust that show a link between nostalgia for the maternal voice and the writer's self, the book then turns to the psychoanalytic literature on the role of the voice in the formation of the psyche. In the process, it analyses feminist polemics on the maternal voice to show how voice and rhythm together form the matrices of the subject. The voice of the soprano occupied a special place in nineteenth-century operatic history, replacing the castrato voice as a sexless, angelic, ethereal source of pleasure for the opera-goer. The author shows how these qualities are identified with women's voices in literary texts by Sand, Balzac, du Maurier and Nerval.

What if we've been wrong when reading Agamben? Mathew Abbott argues that Agamben's thought is misunderstood when read in terms of critical theory or traditional political philosophy. Instead, he shows that it engages with political ontology: studying the political stakes of the question of being. Abbot demonstrates the crucial influence of Martin Heidegger on Agamben's work, locating it in the post-Heideggerian tradition of the critique of metaphysics. As he clarifies it, Abbott links Agamben's philosophy with Wittgenstein's picture theory and Heidegger's concept of the world-picture, showing the importance of this for understanding - and potentially overcoming - the forms of alienation characteristic of the society of the spectacle.