ABOUT DANCING THE DIALECTICElspeth Brown, PhD, Professor of History at the University of Toronto and Board Member of The ArQuives: Canada's LGBTQ2+ Archives says: "Rupert Raj is one of trans history's most important figures. His tireless activism in the 1970s and 1980s, in particular, paved the way for generations of activists not only in the U.S. and Canada, but globally as well. Dancing the Dialectic is a beautifully written, first-person account of that activism, joining other classics in the genre-from Emergence to Redefining Realness." "Born around the time that Christine Jorgensen's story made world headlines and retiring at a time when trans people are reaching an emancipation watershed worldwide, Rupert Raj is one of a select few whose life neatly tracks the arc of modern trans history. Weaving those two together, this updated memoir refers to a veritable 'Who's Who' of trans activism across borders and oceans. Dancing the Dialectic is the true 'warts and all' story of a man whose whole adult life has been devoted to advocacy and community support. Highly recommended." says Christine Burnes, MBE, Writer and equalities advocate (UK), Author of Pressing Matters and Editor of Trans Britain "Nearly half a century ago, Rupert Raj was one among the world's first generation of transsexual men taking matters into their own hands. Without any role models, or even a concept of trans masculinity, he delved into the unknown, searching for his personal truth, trusting only on instinct. We own a debt to pioneers like Rupert that nowadays trans men and women around the globe have ways of understanding and finding themselves. His life story is a crucial testimony that deserves to be read." comments Alex Bakker, MA Historian and writer (The Netherlands) and author of My Untrue Past and Transgender in Nederland RUPERT RAJ is a trailblazing, Eurasian-Canadian, trans activist and former psychotherapist, who transitioned from female to male in 1971 as a transsexual teenager. Dancing the Dialectic between gender dysphoria and gender euphoria, cynical despair and realistic hope, righteous rage and loving kindness, this Gender Worker tells us all about his lifelong fight for the rights of transgender intersex and two-spirit people-and his later-life role as a Rainbow Warrior working to free Mother Earth's enslaved animals. He is (co-)editor of Trans Activism in Canada: A Reader, and Of Souls and Roles, Of Sex and Gender: A Treasury of Transsexual, Transgenderist and Transvestic Verse from 1967 to 1991.

Bertell Ollman has been hailed as "this country's leading authority on dialectics and Marx's method" by Paul Sweezy, the editor of Monthly Review and dean of America's Marx scholars. In this book Ollman offers a thorough analysis of Marx's use of dialectical method. Marx made extremely creative use of dialectical method to analyze the origins, operation, and direction of capitalism. Unfortunately, his promised book on method was never written, so that readers wishing to understand and evaluate Marx's theories, or to revise or use them, have had to proceed without a clear grasp of the dialectic in which the theories are framed. The result has been more disagreement over "what Marx really meant" than over the writings of any other major thinker. In putting Marx's philosophy of internal relations and his use of the process of abstraction--two little-studied aspects of dialectics--at the center of this account, Ollman provides a version of Marx's method that is at once systematic, scholarly, clear and eminently useful. Ollman not only sheds important new light on what Marx really meant in his varied theoretical pronouncements, but in carefully laying out the steps in Marx's method makes it possible for a reader to put the dialectic to work in his or her own research. He also convincingly argues the case for why social scientists and humanists as well as philosophers should want to do so.

A theoretical examination of the influence of political and social movements on the art of dance.

A philosophical exploration of pop music that reveals a rich, self-reflexive art form with unsuspected depths. In the first major philosophical treatise on the subject, Agnès Gayraud explores all the paradoxes of pop—its inauthentic authenticity, its mass production of emotion and personal resonance, its repetitive novelty, its precision engineering of seduction—and calls for pop (in its broadest sense, encompassing all genres of popular recorded music) to be recognized as a modern, technologically mediated art form to rank alongside cinema and photography. In a thoroughgoing engagement with Adorno's fierce critique of "standardized light popular music," Dialectic of Pop tracks the transformations of the pop form and its audience over the course of the twentieth century, from Hillbilly to Beyoncé, from Lead Belly to Drake. Inseparable from the materiality of its technical media, indifferent and intractable to the perspectives of high culture, pop subverts notions of authenticity and inauthenticity, original and copy, aura and commodity, medium and message. Gayraud demonstrates that, far from being the artless and trivial mass-produced pabulum denigrated by Adorno, pop is a rich, self-reflexive artform that recognises its own contradictions, incorporates its own productive negativity, and often flourishes by thinking "against itself." Dialectic of Pop sings the praises of pop as a constitutively impure form resulting from the encounter between industrial production and the human predilection for song, and diagnoses the prospects for twenty-first century pop as it continues to adapt to ever-changing technological mediations.

Morris dancing, one of the more peculiar of the English folk customs, has been greatly misunderstood. In The History of Morris Dancing, 1458-1750 John Forrest analyses a wealth of evidence to show that Morris dancing does not, as is often assumed, have pagan or ancient origins. He examines early documentation to draw Morris traditions into the wide area of communal custom and public celebrations, showing the passage of dance ideas between groups previously considered folklorically distinct. Careful, detailed and encyclopaedic, The History of Morris Dancing, 1458-1750, is an essential reference work for specialists in English drama and social historians of the period, as well as offering fascinating insight for those who enjoy Morris dancing.

Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s—and his broader effort to understand Okinawans’ critical and creative struggles—was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps. Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

In Always More Than One, the philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience. Working from Whitehead's process philosophy and Simondon's theory of individuation, she extends the concepts of movement and relation developed in her earlier work toward the notion of "choreographic thinking." Here, she uses choreographic thinking to explore a mode of perception prior to the settling of experience into established categories. Manning connects this to the concept of "autistic perception," described by autistics as the awareness of a relational field prior to the so-called neurotypical tendency to "chunk" experience into predetermined subjects and objects. Autistics explain that, rather than immediately distinguishing objects—such as chairs and tables and humans—from one another on entering a given environment, they experience the environment as gradually taking form. Manning maintains that this mode of awareness underlies all perception. What we perceive is never first a subject or an object, but an ecology. From this vantage point, she proposes that we consider an ecological politics where movement and relation take precedence over predefined categories, such as the neurotypical and the neurodiverse, or the human and the nonhuman. What would it mean to embrace an ecological politics of collective individuation?