At last this major director, practitioner, and renowned author on community theatre speaks out about the practical work he does with diverse communities, the effects of globalization, and the creative possibilities for all of us.

In a work with far-reaching implications, Chela Sandoval does no less than revise the genealogy of theory over the past thirty years, inserting what she terms "U.S. Third World feminism" into the narrative in a way that thoroughly alters our perspective on contemporary culture and subjectivity. What Sandoval has identified is a language, a rhetoric of resistance to postmodern cultural conditions. U.S. liberation movements of the post-World War II era generated specific modes of oppositional consciousness. Out of these emerged a new activity of consciousness and language Sandoval calls the "methodology of the oppressed." This methodology—born of the strains of the cultural and identity struggles that currently mark global exchange—holds out the possibility of a new historical moment, a new citizen-subject, and a new form of alliance consciousness and politics. Utilizing semiotics and U.S. Third World feminist criticism, Sandoval demonstrates how this methodology mobilizes love as a category of critical analysis. Rendering this approach in all its specifics, Methodology of the Oppressed gives rise to an alternative mode of criticism opening new perspectives on any theoretical, literary, aesthetic, social movement, or psychic expression.

Africa’s modern history is replete with different forms of encounters and conflicts. From the fifteenth century when millions of Africans were forcefully taken away as slaves during the infamous Atlantic slave trade; to the colonial conquests of the nineteenth century where European countries conquered and subsequently balkanized Africa and shared the continent to European powers; and to the postcolonial era where many African leaders have maintained several instruments of exploitation, the continent has seen different forms of encounters, exploitations and oppressions. These encounters and exploitations have equally been met with resistance in different forms and at different times. The mode of Africa’s encounters with the rest of the world have in several ways, shaped and continue to shape the continent’s social, political and economic development trajectories. Essays in this volume have addressed different aspects of these phases of encounters and resistance by Africa and the African Diaspora. While the volume document different phases of oppression and conflict, it also contains some accounts of Africa’s resistance to external and internal oppressions and exploitations. From the physical guerilla resistance of the Mau Mau group against British colonial exploitation in Kenya and its aftermath, to efforts of the Kayble group to preserve their language and culture in modern Algeria; and from the innovative ways in which the Tuareg are using guitar and music as forms of expression and resistance, to the modern ways in which contemporary African immigrants in North America are coping with oppressive structures and racism, the chapters in this volume have examined different phases of oppressions and suppressions of Africa and its people, as well as acts of resistance put up by Africans.

Between Love and Freedom interprets the figure of the revolutionary in the Hindi novel by establishing its lineage in representative Bengali novels, as well as in the contending moralities of Mahatma Gandhi and Bhagat Singh on the idea of violence. It reveals how conventional social realism and emergent modernist modes were brought together in the novelistic tradition by extending the political ideal of anti-colonial revolution into domains of sexual desire and subjective expression, especially in the works of Agyeya, Jainendra, and Yashpal. This work will deeply interest scholars and students of literature, modern Indian history, Hindi, and political science.

In an ancient account of painting’s origins, a woman traces the shadow of her departing lover on the wall in an act that anticipates future grief and commemoration. Lisa Saltzman shows here that nearly two thousand years after this story was first told, contemporary artists are returning to similar strategies of remembrance, ranging from vaudevillian silhouettes and sepulchral casts to incinerated architectures and ghostly processions. Exploring these artists’ work, Saltzman demonstrates that their methods have now eclipsed painting and traditional sculpture as preeminent forms of visual representation. She pays particular attention to the groundbreaking art of Krzysztof Wodiczko, who is known for his projections of historical subjects; Kara Walker, who creates powerful silhouetted images of racial violence in American history; and Rachel Whiteread, whose work centers on making casts of empty interior spaces. Each of the artists Saltzman discusses is struggling with the roles that history and memory have come to play in an age when any historical statement is subject to question and doubt. In identifying this new and powerful movement, she provides a framework for understanding the art of our time.