What is the role of cultural authenticity in the making of nations? Much scholarly and popular commentary on nationalism dismisses authenticity as a romantic fantasy or, worse, a deliberately constructed mythology used for political manipulation. The Politics and Poetics of Authenticity places authenticity at the heart of Sinhala nationalism in late nineteenth and twentieth-century Sri Lanka. It argues that the passion for the ‘real’ or the ‘authentic’ has played a significant role in shaping nationalist thinking and argues for an empathetic yet critical engagement with the idea of authenticity. Through a series of fine-grained and historically grounded analyses of the writings of individual figures central to the making of Sinhala nationalist ideology the book demonstrates authenticity’s rich and varied presence in Sri Lankan public life and its key role in understanding postcolonial nationalism in Sri Lanka and elsewhere in South Asia and the world. It also explores how notions of authenticity shape certain strands of postcolonial criticism and offers a way of questioning the taken-for-granted nature of the nation as a unit of analysis but at the same time critically explore the deep imprint of nations and nationalisms on people's lives.

Applying the insights of Mikhail Bakhtin and recent French critical theorists to the concept of hierarchies in Western society, Stallybrass and White explore the symbolic polarities of the exalted and the base. The authors compare high and low discourse in a variety of domains, and discover that, in every case, the polarities structure and depend upon each other and, in certain instances, interpenetrate to produce political change. -- Molyblog.

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.

Cicero's dialogue on oratory responded to the political crisis of Julius Caesar but ultimately invented 'modern' literary history.

The Politics and Poetics of Sor Juana Inés de la Cruz examines the role of occasional verse in the works of the celebrated colonial Mexican nun. The poems that Sor Juana wrote for special occasions (birthdays, funerals, religious feasts, coronations, and the like) have been considered inconsequential by literary historians; but from a socio-historical perspective, George Antony Thomas argues they hold a particular interest for scholars of colonial Latin American literature. For Thomas, these compositions establish a particular set of rhetorical strategies, which he labels the author's 'political aesthetics.' He demonstrates how this body of the famous nun's writings, previously overlooked by scholars, sheds new light on Sor Juana's interactions with individuals in colonial society and throughout the Spanish Empire.

In The Poetics of Political Thinking Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. The Poetics of Political Thinking is a compelling reappraisal of the role of representation within political thought.