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Edited by C.A. DeCoursey and Dean A.F. Gui

In a world where work is becoming more distributed and virtual, and learning and gaming communities have become more complex, teachers, instructional designers and educational researchers from across the globe are examining virtual environments as discursive environments. The authors of this volume respond to these paradigm shifts, engineering new meanings in the workplace, higher education, organisations, psychology, hegemonies, and video games; where learners critically self-reflect and experience the world in transformative ways. Overall, this volume explores innovative design frameworks and learning activities, allowing readers to consider experiential learning through quantitative, inductive, qualitative and instructional analysis and methodology.

Edited by William Fourie

From subversive shop windows to moralising theme parks, Urban Assemblage presents eight diverse perspectives on urban space and culture. The volume spotlights cities as far afield as Johannesburg and Cork City to see how different cultures, media, mobilities and narratives come to form the spaces we occupy; it looks at the Tuscan utopia, the evolution of the hipster, the Neo-bohemian café culture of gentrification, and breaking the rigid urban way of life through the fluid (identity) movement of Parkour. Not only is the subject matter diverse, but the interdisciplinary spirit at the core of this volume elicits convergences and divergences, intersections and parallels by drawing on wide-ranging methodologies and disciplines. Urban Assemblage is an assemblage of eight different voices, informed and cutting-edge in their explications of various urban spaces.

Edited by Nuria Rodríguez Ortega, Fátima Díez-Platas and Seppo Kuivakari

The articles comprised in this anthology are attempting to discuss the rapid change of digital media technologies and the way they impetus our understanding of history and memory. History should not be regarded only as an object of research. It is also a subject, performing and registering agency. The aim of the articles will not be to cover the whole range of mediated histories, but to claim fresh insights for debate and discovery in terms of digital memories. In this sense, contributions for this volume will leave the “doors of perception” (Aldous Huxley) wide open and sketch the impact of media to different cultural practices, identity work and preservation of history, as well as the examination of it. Likewise, divergence of the papers at hand indicates that the concept “digital” ought to be recognized as institutional practices, methodological tools, or as content providers for memories.

Amber Anna Colvin

In recent years the study of celebrity, of what constitutes fame, and how that fame is controlled and performed, has become an area of intense scholarly interest. This is due in part to the increased emphasis on social and cultural history and the presence of new and innovative sources, both of which have created new and exciting areas of study. The growing importance and recognition of the celebrity phenomenon has created a field that is both currently rich in literature and has the room for continued scholarship. The works in this volume address debates on the concept of celebrity, including the modernity of celebrity, the importance of the celebrity-audience relationship and the question of who controls celebrity personas. How, in essence, do celebrities “do fame?” This question is at the centre of this book, with the pieces included addressing this idea across a variety of academic disciplines, time periods, and methodological approaches.

Edited by Nate Hinerman and Holly Lynn Baumgartner

From the ridicule of Emo culture on YouTube to the minute joys of the Happy Hour Trolley in an Australian palliative care setting, responses to suffering and death range from avoidance to eradication. Blunt Traumas thoughtfully engages these topics with compassion and brutal honesty. Contributors across the spectrum of professions using a variety of methodologies, including case studies, fieldwork, systematic philosophy, and historical and textual analysis all respond to the orienting question: ‘How does culture impact, co-create, and/or produce suffering?’ Their inter- and multi-disciplinary perspectives are divided into two sections. The first, ‘Public Perceptions of Death, Dying, and Suffering’ closely examines human interactions with and performance of technologies of suffering from wireless to religious, dead baby bloggers to wounded warriors. The second half of the book focuses on the ‘The Sufferer’s Right to Choose’, whether that concerns end-of-life decisions, medical technologies, or narratives of self. Together, these chapters provide greater intelligibility on and provocative discussions about the oft ignored or ‘buried’ discourses of suffering and dying.

Things Done Change

The Cultural Politics of Recent Black Artists in Britain

Series:

Eddie Chambers

1980s Britain witnessed the brassy, multifaceted emergence of a new generation of young, Black-British artists. Practitioners such as Sonia Boyce and Keith Piper were exhibited in galleries up and down the country and reviewed approvingly. But as the 1980s generation gradually but noticeably fell out of favour, the 1990s produced an intriguing new type of Black-British artist. Ambitious, media-savvy, successful artists such as Steve McQueen, Chris Ofili, and Yinka Shonibare made extensive use of the Black image (or, at least, images of Black peo¬ple, and visuals evocative of Africa), but did so in ways that set them apart from earlier Black artists. Not only did these artists occupy the curatorial and gallery spaces nominally reserved for a slightly older generation but, with aplomb, audacity, and purpose, they also claimed previously unimaginable new spaces. Their successes dwarfed those of any previous Black artists in Britain. Back-to-back Turner Prize victories, critically acclaimed Fourth Plinth commissions, and no end of adulatory media attention set them apart.
What happened to Black-British artists during the 1990s is the chronicle around which Things Done Change is built. The extraordinary changes that the profile of Black-British artists went through are dis¬cussed in a lively, authoritative, and detailed narrative. In the evolving history of Black-British artists, many factors have played their part. The art world’s turning away from work judged to be overly ‘political’ and ‘issue-based’; the ascendancy of Blair’s New Labour government, determined to locate a bright and friendly type of ‘diversity’ at the heart of its identity; the emergence of the precocious and hegemonic yBa grouping; governmental shenanigans; the tragic murder of Black Londoner Stephen Lawrence – all these factors and many others underpin the telling of this fascinating story.
Things Done Change represents a timely and important contribution to the building of more credible, inclusive, and nuanced art histories. The book avoids treating and discussing Black artists as practitioners wholly separate and distinct from their counterparts. Nor does the book seek to present a rosy and varnished account of Black-British artists. With its multiple references to Black music, in its title, several of its chapter headings, and citations evoked by artists themselves, Things Done Change makes a singular and compelling narrative that reflects, as well as draws on, wider cultural mani¬festations and events in the socio-political arena.

Series:

David J. Galbreath, Ainius Lašas and Jeremy W. Lamoreaux

Continuity and Change in the Baltic Sea Region uncovers the Baltic States’ foreign policy transition from Socialist Republics to EU member-states. Situated between the Russian Federation and Northern Europe, Estonia, Latvia and Lithuania have had to manoeuvre within an often delicate sub-region. Since independence, the foreign policies of the Baltic States have been dominated by de-Sovietization and European integration. Lying at the crossroads between small state theory and identity politics, this analysis engages with the development of Baltic foreign policies as post-Soviet, small and transitioning states.
The authors argue that Estonia, Latvia and Lithuania dictated their early foreign policy agendas based on a process of identity construction and as a response to their regional environment. This process took the Baltic States from East to West in their foreign policy aspirations. Key factors in foreign policy making and implementation are discussed, as well as external factors that shaped Baltic foreign policy agendas. Overall, the book illustrates how continuity and change in the Baltic foreign policies has been shaped by both ‘hard’ and ‘soft’ factors. It is a study in the foreign policies of transitioning states and in this regard illuminates a much larger research area beyond its geographic focus.

Edited by Laura Crossley and Clara Sitbon

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Edited by Nathan J. Jun

Despite the recent proliferation of scholarship on anarchism, very little attention has been paid to the historical and theoretical relationship between anarchism and philosophy. Seeking to fill this void, Brill’s Companion to Anarchism and Philosophy draws upon the combined expertise of several top scholars to provide a broad thematic overview of the various ways anarchism and philosophy have intersected. Each of its 18 chapters adopts a self-consciously inventive approach to its subject matter, examining anarchism’s relation to other philosophical theories and systems within the Western intellectual tradition as well as specific philosophical topics, subdisciplines and methodological tendencies.

Gender under Construction

Femininities and Masculinities in Context

Series:

Edited by Ewa Glapka and Barbara Braid

Gender performativity, its variances depending on their historical, social and cultural contexts, and the rituals, representations and institutions involved in gender performances are some of the issues the authors addressed in this collection. Gender under Construction takes a non-essentialist view of gender and provides illustrative examples of gender constructive processes by pursuing them in various contexts and by means of diverse methodologies. In so doing, the book demonstrates that it is unfeasible to consider gender as a fixed biological trait. Instead, the authors propose to look at gender performance as ongoing processes in which femininities and masculinities enter multiple and dynamic intersections with a myriad of categories, including those of nationality, ethnicity, class, sexuality and age.

Contributors are Iqbal Akthar, Renata Ćuk, Ewa Glapka, Deirdre Hynes, Borja Ibaseta, Martin King, Ana Cristina Moreira Lima, Mervi Patosalmi, Marcia Bastos de Sá, Andréa Costa da Silva, Vera Helena Ferraz de Siqueira, Christi van der Westhuizen and Isabelle V. Zinn.