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The Uses of Archaeological Heritage in the Caribbean
What is the role of local Caribbean individuals and communities in creating and perpetuating archaeological heritage? How has archaeological knowledge been integrated into education plans in different countries? This book aims to fill a gap in both archaeological scholarship and popular knowledge by providing a platform for local Caribbean voices to speak about the archaeological heritage of their region. To achieve this, each chapter of the book focuses on identifying and developing strategies that academics, heritage practitioners, and non-scholars from the insular Caribbean can adopt to stimulate a necessary dialogue on how archaeological heritage is used and produced on various academic, political, and social levels.

Contributors are: Zara Ali, Arlene Álvarez, Lisette Roura Alvarez, Irvince Nanichi Auguiste, Victoria Borg O’Flaherty, Lornadale L. Charles, Eldris Con Aguilar, Raymundo A.C.F. Dijkhoff, Matthieu Ecrabet, Kevin Farmer, Cameron Gill, Eduardo Herrera Malatesta, Katarina Jacobson, Joseph Sony Jean, Debra Kay Palmer, Harold Kelly, Wilhelm Londoño Díaz, Stacey Mac Donald, Jerry Michel, Ashleigh John Morris, Andrea Richards, Kara M. Roopsingh, Pierre Sainte-Luce, Tibisay Sankatsing Nava, and Laurent Christian Ursulet.
Sports Semiotics applies semiotics (and other disciplines, secondarily) to analyse the social, cultural, economic and psychological significance of sports. It includes a primer on semiotic theory, sections on the analysis of wrestling by Roland Barthes in his book Mythologies, as well as sections on football and the sacred, the Super Bowl, and the semiotics of televised baseball.
Often identified as one of the most genuine and enduring American film genres, the road movie has never been explored in the context of experimental filmmaking. To fill this gap, Lost Highways, Embodied Travels provides the first book-length study of over eighty unique and often obscure films and videos and situates them within the corporeal turn in American avant-garde cinema, so far mostly associated with body genres and sexually explicit films. Drawing on unpublished archival materials, the book offers a fresh take on both past and current practices of the experimental film community for scholars, students, makers and film buffs.
Featuring new archival research and previously unpublished photographs and architectural plans, this volume fundamentally revises our understanding of the development of modern New York, focusing on elite domestic architecture within the contexts of social history, urban planning, architecture, interior design, and adaptive re-use. Contributions from emerging and established scholars, art historians, and practitioners offer a multi-faceted analysis of major figures such as Horace Trumbauer, Julian Francis Abele, Robert Venturi, and Richard Kelly. Taking the James B. Duke House, now home to NYU’s Institute of Fine Arts, as its point of departure, this collection provides fresh perspectives on domestic spaces, urban forms, and social reforms that shaped early-twentieth century New York into the modern city we know today.
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The presidency of Donald J. Trump, has had a considerable impacts on American politics and society. One of these was his altering of the comedic mood in America, taking comedy away from many of its traditions. His presidency turned comedy into political weaponry, as comedians on the liberal side of politics turned their efforts to ridiculing Trump’s buffoonish persona, while on the conservative side, a Trump-supportive group of comedians mocked those very comedians who opposed Trump. Trump himself emerged as a comedian, performing his dark, caustic, comical routines with consummate skill at his rallies. If comedy is a pulse for a country, then it is legitimate to ask if that pulse still beating, even after Trump lost reelection in 2020. This book will address this question, examining how Trump’s presidency interrupted the historical flow of American comedic traditions, and how it spread a dark mood throughout American society.
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This groundbreaking collection of essays tells the surprising story of how the American Western has shaped world literature, fueling provocative novels and reflections about national identity, settler colonialism, and violence. Containing nineteen chapters spanning Asia, Africa, the Americas, Australia, Europe, Israel, and New Zealand, as well as a guiding, critical introduction, this book opens an exciting new chapter in the study of popular culture, literature, and globalization. Through this international lens, the literary Western casts off the categories of juvenilia and formula to come into focus as a vital and creative statement about identity, power, and history.

Contributors are: Zbigniew Białas, Manuela Borzone, Flavia Brizio-Skov, Alex Calder, Neil Campbell, Christopher Conway, Samir Dayal, Joel Deshaye, Johannes Fehrle, MaryEllen Higgins, Emily Hind, Shelly Jarenski, Rachel Leket-Mor, Warren Motte, Andrew Nette, Marek Paryż, David Rio, Steffen Wöll, and Sergei Zhuk
Up in Arms provides an illustrative and timely window onto the ways in which guns shape people’s lives and social relations in Texas. With a long history of myth, lore, and imaginaries attached to gun carrying, the Lone Star State exemplifies how various groups of people at different historical moments make sense of gun culture in light of legislation, political agendas, and community building. Beyond gun rights, restrictions, or the actual functions of firearms, the book demonstrates how the gun question itself becomes loaded with symbolic firepower, making or breaking assumptions about identities, behavior, and belief systems.

Contributors include: Benita Heiskanen, Albion M. Butters, Pekka M. Kolehmainen, Laura Hernández-Ehrisman, Lotta Kähkönen, Mila Seppälä, and Juha A. Vuori.
In 2016 and 2020, the Bernie Sanders campaign gave American leftists a path towards social change through electoral politics. In order to combat neoliberal and reactionary uses of identity, the 2020 Sanders campaign combined a working-class agenda of universalist policies with various forms of social movement activism. In doing so it compromised on universalist principles and socialist radicalism in order to appeal to distinct demographic groups and win the election. Bernie Bros Gone Woke reveals how intersectional politics contributed to the failure of the Sanders campaign – a lesson that the organized left must learn if it is to challenge progressive neoliberalism and move beyond postmodern post-politics.
Usable Pasts addresses projects dating to two periods in the United States that saw increased financial support from the state for socially engaged culture. By analysing artworks dating to the 1990s by Suzanne Lacy, Rick Lowe and Martha Rosler in relation to experimental theatre, modern dance, and photography produced within the leftist Cultural Front of the 1930s, this book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.