Vesna Pavlović: Stagecraft features four extensive bodies of the photographer's work, spanning from the early 2000s to today—photographs of the Yugoslav socialist modernist hotel spaces from her internationally recognized series "Hotels"; photographs of the ceremonial space of the Yugoslav Presidential Palace in Belgrade from the series "Collection/Kolekcija" and the recent "Fabrics of Socialism" and "Sites of Memory" series exploring the archives of the Museum of Yugoslav History. The book includes critical essays that contextualize and expound on Pavlović's unique treatment of the photographic medium, in which a photographic moment is expanded to include the conditions of image making, production, documentation, and representation.

“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture.

This book constitutes the thoroughly refereed post-workshop proceedings of the 8th International Workshop on Automated Deduction in Geometry, ADG 2010, held in Munich, Germany in July 2010. The 13 revised full papers presented were carefully selected during two rounds of reviewing and improvement from the lectures given at the workshop. Topics addressed by the papers are incidence geometry using some kind of combinatoric argument; computer algebra; software implementation; as well as logic and proof assistants.

"This volume of essays is dedicated to George Soros in honor of his seventieth birthday. In their various fields of work the authors, who come from the interconnected worlds of academe, politics, and business, have each made an active contribution to the growth of the huge philanthropic empire built by Soros." "The editors chose the title The Paradoxes of Unintended Consequences to encourage contributors to adopt a dialogical approach. The title also refers to the case of Giordano Bruno, itself a telling example of paradox. Burnt at the stake 400 years ago for heresy, Bruno's views were probably far more illiberal and undemocratic than the views of those who condemned him. The editors' aim was to show that any complex social process or political attempt to change people's lives will inevitably have unintended consequences, usually of a paradoxical nature. These consequences should force us to reconsider our original theory."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

At first glance, Jessica Ingram's landscape photographs could have been made nearly anywhere in the American South: a fenced-in backyard, a dirt road lined by overgrowth, a field grooved with muddy tire prints. These seemingly ordinary places, however, were the sites of pivotal events during the civil rights era, though often there is not a plaque with dates and names to mark their importance. Many of these places are where the bodies of activists, mill workers, store owners, sharecroppers, children and teenagers were murdered or found, victims of racist violence. Images of these places are interspersed with oral histories from victims' families and investigative journalists, as well as pages from newspapers and FBI files and other ephemera. With Road Through Midnight, the result of nearly a decade of research and fieldwork, Ingram unlocks powerful and complex histories to reframe these commonplace landscapes as sites of both remembrance and resistance and transforms the way we regard both what has happened and what's happening now—as the fight for civil rights goes on and memorialization has become the literal subject of contested cultural and societal ground.