Transcultural Graffiti reads a range of texts - prose, poetry, drama - in several European languages as exemplars of diasporic writing. The book scrutinizes contemporary transcultural literary creation for the manner in which it gives hints about the teaching of literary studies in our postcolonial, globalizing era. Transcultural Graffiti suggest that cultural work, in particular transcultural work, assembles and collates material from various cultures in their moment of meeting. The teaching of such cultural collage in the classroom should equip students with the means to reflect upon and engage in cultural 'bricolage' themselves in the present day. The texts read - from Césaire's adaptation of Shakespeare's Tempest, via the diaspora fictions of Marica Bodrozic or David Dabydeen, to the post-9/11 poetry of New York poets - are understood as 'graffiti'-like inscriptions, the result of fleeting encounters in a swiftly changing public world. Such texts provide impulses for a performative 'risk' pedagogy capable of modelling the ways in which our constitutive individual and social narratives are constructed, deconstructed and reconstructed today.

Transcultural Graffiti reads a range of texts – prose, poetry, drama – in several European languages as exemplars of diasporic writing. The book scrutinizes contemporary transcultural literary creation for the manner in which it gives hints about the teaching of literary studies in our postcolonial, globalizing era. Transcultural Graffiti suggest that cultural work, in particular transcultural work, assembles and collates material from various cultures in their moment of meeting. The teaching of such cultural collage in the classroom should equip students with the means to reflect upon and engage in cultural ‘bricolage’ themselves in the present day. The texts read – from Césaire’s adaptation of Shakespeare’s Tempest, via the diaspora fictions of Marica Bodrožic or David Dabydeen, to the post-9/11 poetry of New York poets – are understood as ‘graffiti’-like inscriptions, the result of fleeting encounters in a swiftly changing public world. Such texts provide impulses for a performative ‘risk’ pedagogy capable of modelling the ways in which our constitutive individual and social narratives are constructed, deconstructed and reconstructed today.

The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; Regional/Municipal Variations/Differences of Graffiti and Street Art; and, Effects of Graffiti and Street Art. Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked.

The book is a stimulating and inspiring collection which explores the often contentious themes of race, racism and culture in relation to the experience of art therapy, in a constructive way. Contributors examine the impact of racial perceptions in their own experience, their clients' lives, and on the interaction of therapist and client.

Cross Words refers to cultural hybrids, trans-cultural alliances, and associations. This fascinating compendium documents—in essays, conversations, and socratic raps—the vital work poets perform when they write across borders. Anne Waldman is the author of more than forty collections of poetry, the editor of numerous anthologies, and, for The Iovis Trilogy, the winner of the Shelley Memorial Award and the USA PEN Center Award for Poetry. She is a chancellor of the Academy of American Poets. Laura E. Wright is a poet, translator, and librarian. With Anne Waldman, she co-edited Beats at Naropa (Coffee House Press, 2009).

This book presents the narratives and voices of young, mostly male practitioners of hip hop culture in Delhi, India. The author suggests that practitioners understand hip hop as both a thing that can be appropriated and authenticated, made real, in the local and global context and as a way that enables them to transform their lives and futures in the rapidly globalising urban environments of Delhi. The dancers, artists, musicians and cultural theorists that feature in this book construct a multitude of voices in their narratives to formulate their ‘own’ transcultural voices within global hip hop. Through a combination of linguistic ethnography, sociolinguistics and discourse studies, the book addresses issues including gender and sexuality, identity construction and global culture.

Post-Migratory Cultures in Postcolonial France offers a critical assessment of the ways in which French writers, filmmakers, musicians and other artists descended from immigrants from former colonial territories bring their specificity to bear on the bounds and applicability of French republicanism, “Frenchness” and national identity, and contemporary cultural production in France.