Ichuerorabooks: Januari 2016

Sabtu, 30 Januari 2016

^ Ebook Queen for a Day: Transformistas, Beauty Queens, and the Performance of Femininity in Venezuela (Perverse Modernities: A Series Edited

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Queen for a Day connects the logic of Venezuelan modernity with the production of a national femininity. In this ethnography, Marcia Ochoa considers how femininities are produced, performed, and consumed in the mass-media spectacles of international beauty pageants, on the runways of the Miss Venezuela contest, on the well-traveled Caracas avenue where transgender women (transformistas) project themselves into the urban imaginary, and on the bodies of both transformistas and beauty pageant contestants (misses). Placing transformistas and misses in the same analytic frame enables Ochoa to delve deeply into complex questions of media and spectacle, gender and sexuality, race and class, and self-fashioning and identity in Venezuela.

Beauty pageants play an outsized role in Venezuela. The country has won more international beauty contests than any other. The femininity performed by Venezuelan women in high-profile, widely viewed pageants defines a kind of national femininity. Ochoa argues that as transformistas and misses work to achieve the bodies, clothing and makeup styles, and postures and gestures of this national femininity, they come to embody Venezuelan modernity.

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Jumat, 29 Januari 2016

! Free PDF Toussaint Louverture: The Story of the Only Successful Slave Revolt in History; A Play in Three Acts (The C. L. R. James Archives), by C.

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In 1934 C. L. R. James, the widely known Trinidadian intellectual, writer, and political activist, wrote the play Toussaint Louverture: The Story of the Only Successful Slave Revolt in History, which was presumed lost until the rediscovery of a draft copy in 2005. The play's production, performed in 1936 at London's Westminster Theatre with a cast including the American star Paul Robeson, marked the first time black professional actors starred on the British stage in a play written by a black playwright. This edition includes the program, photographs, and reviews from that production, a contextual introduction and editorial notes on the play by Christian Høgsbjerg, and selected essays and letters by James and others. In Toussaint Louverture, James demonstrates the full tragedy and heroism of Louverture by showing how the Haitian revolutionary leader is caught in a dramatic conflict arising from the contradiction between the barbaric realities of New World slavery and the modern ideals of the Enlightenment. In his portrayal of the Haitian Revolution, James aspired to vindicate black accomplishments in the face of racism and to support the struggle for self-government in his native Caribbean. Toussaint Louverture is an indispensable companion work to The Black Jacobins (1938), James's classic account of Haiti's revolutionary struggle for liberation.

Sales Rank: #670334 in Books
Published on: 2012-12-31
Original language: English
Number of items: 1
Dimensions: 8.62" h x .60" w x 6.30" l, .70 pounds
Binding: Paperback
240 pages

Review
"Long legendary throughout the diaspora, the first version of C. L. R. James's play about Toussaint Louverture finally emerges from the archives. This play is the production that united James with his friend Paul Robeson on the London stage. It was an extraordinary event at the time—witness the contemporary reviews added to this publication—and it is no less extraordinary today. In addition to reviews, this edition also reprints valuable early statements from James and Robeson. It is a singular, one might even say Olympian, volume with much to teach us all." (Aldon Lynn Nielsen, author of C. L. R. James: A Critical Introduction)

“[T]horoughly researched and intelligently prepared. . . .Toussaint Louverture is easily one of the two or three most important publications of C.L.R. James’s work in decades – and the best-edited, by a very large margin.” (Scott McLemee Inside Higher Ed)

“This present volume . . . contains the play itself among an array of fascinating accompanying texts. These include an enlightening introduction by Høgsbjerg, a series of notices and reviews of the performances, which featured the most renowned black actor of his generation, Paul Robeson, as the Haitian revolutionary leader, plus other writings by James, Robeson and George Padmore, which pitch the play within its vital contemporary context: all in all, a profoundly engaging, original and epochal document.” (Chris Searle Race and Class)

“This script is from a bygone age; its value lies not only in its importance as a document of theater history but also as a crucial addition to the canon of works about the Caribbean. This work would be difficult to stage these days (it boasts an especially large cast), but it should not be ignored by groups that can marshal the resources. Historians of the Caribbean will find it essential.” (Larry Schwartz Library Journal (Starred Review))

“Highly recommended.” (A.J. Guillaume Jr Choice)

“Why should we pay attention to this long-lost and largely forgotten play? We should do so because it is among the first efforts of one of history’s great anti-colonial voices, wrestling with the distinctive aesthetic quandaries of form and performance, to show that freedom from imperialism is just a phrase if it does not entail direct democracy and universal rights. James was nothing if not ambitious.” (Robert Spencer Journal of Postcolonial Writing)

“We all owe much to the expert salvage operation Christian Høgsbjerg has performed here. As long as the world wilts with oppression, is awash with crisis, and punctuated by resistance this play, its subject matter, and now this book, will have to be read, watched and pondered on over and over again.” (Gaverne Bennett London Socialist Historians Group)

"More than any other contemporary writer on James, Christian Høgsbjerg appreciates how provisional and incomplete our understanding of this intellectual agenda has actually been. . . . The publication of James’s foray into theatrical prose is not only a delightful literary event in its own right but provides a welcome opportunity to revisit the historical and intellectual context in which James produced his landmark work of comparative historical analysis, The Black Jacobins: Toussaint Louverture and the San Domingo Revolution (1938). " (Kent Worcester New Politics)

“[T]he many people interested in James, and the many admirers in particular of his The Black Jacobins, will welcome this first publication of his 1934 play. It includes Christian Hogsbjerg’s well researched introduction and annotations, and several other pieces related to the play which form the appendix to this volume.” (Bridget Brereton Trinidad Express)

"It would be hard to overstate the importance of Christian Høgsbjerg’s new critical edition of C.L.R. James’s Toussaint Louverture.... Publication of Toussaint Louverture is such a resource for all readers. There could be no better work with which to launch the important new C.L.R. James Archives Series, edited by Robert A. Hill for Duke University Press." (Rachel Douglas Anthurium 2016-05-01)

About the Author

C. L. R. James (1901–89) was a Trinidadian historian, novelist, activist, and cultural and political critic. He wrote many books, including a seminal cultural study of cricket, Beyond a Boundary, which is also published by Duke University Press.

Christian Høgsbjerg is a historian who lectures at Leeds Metropolitan University.

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Minggu, 24 Januari 2016

>> Free Ebook A Century of Revolution: Insurgent and Counterinsurgent Violence during Latin America’s Long Cold War (American Encounters/Global Int

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Latin America experienced an epochal cycle of revolutionary upheavals and insurgencies during the twentieth century, from the Mexican Revolution of 1910 through the mobilizations and terror in Central America, the Southern Cone, and the Andes during the 1970s and 1980s. In his introduction to A Century of Revolution, Greg Grandin argues that the dynamics of political violence and terror in Latin America are so recognizable in their enforcement of domination, their generation and maintenance of social exclusion, and their propulsion of historical change, that historians have tended to take them for granted, leaving unexamined important questions regarding their form and meaning. The essays in this groundbreaking collection take up these questions, providing a sociologically and historically nuanced view of the ideological hardening and accelerated polarization that marked Latin America’s twentieth century. Attentive to the interplay among overlapping local, regional, national, and international fields of power, the contributors focus on the dialectical relations between revolutionary and counterrevolutionary processes and their unfolding in the context of U.S. hemispheric and global hegemony. Through their fine-grained analyses of events in Chile, Colombia, Cuba, El Salvador, Guatemala, Mexico, Nicaragua, and Peru, they suggest a framework for interpreting the experiential nature of political violence while also analyzing its historical causes and consequences. In so doing, they set a new agenda for the study of revolutionary change and political violence in twentieth-century Latin America.

Contributors
Michelle Chase
Jeffrey L. Gould
Greg Grandin
Lillian Guerra
Forrest Hylton
Gilbert M. Joseph
Friedrich Katz
Thomas Miller Klubock
Neil Larsen
Arno J. Mayer
Carlota McAllister
Jocelyn Olcott
Gerardo Rénique
Corey Robin
Peter Winn

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Although the vast majority of laboring peoples in Peru were indigenous, in the minds of social reformers indigeneity was not commensurable with labor: Indians could not be workers and were therefore excluded from the labor policies enacted in the 1920s and 1930s and, more generally, from elite conceptions of industrial progress. Drinot shows how the incommensurability of indigeneity with labor was expressed in the 1920 constitution, in specific labor policies, and in the activities of state agencies created to oversee collective bargaining and provide workers with affordable housing, inexpensive food, and social insurance. He argues that the racialized assumptions of the modernizing Peruvian state are reflected in the enduring inequalities of present-day Peru.

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Sabtu, 23 Januari 2016

? Download PDF Cumbia!: Scenes of a Migrant Latin American Music GenreFrom Brand: Duke University Press Books

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Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity—such as nation, region, class, race, ethnicity, and gender—are negotiated through interaction with the music.

Contributors. Cristian Alarcón, Jorge Arévalo Mateus, Leonardo D'Amico, Héctor Fernández L'Hoeste, Alejandro L. Madrid, Kathryn Metz, José Juan Olvera Gudiño, Cathy Ragland, Pablo Semán, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

Sales Rank: #1716975 in Books
Brand: Brand: Duke University Press Books
Published on: 2013-05-29
Released on: 2013-05-29
Original language: English
Number of items: 1
Dimensions: 9.25" h x .78" w x 6.00" l, 1.00 pounds
Binding: Paperback
312 pages

Features

Used Book in Good Condition

Review
"Cumbia has mattered, matters, and will most likely continue to matter for the multitudes who create it, listen and dance to it, and debate it almost as a way of life. This collection is both a sonic roadmap and testimony to the imagination of people across the Americas as they make some sense of their many worlds through music."—Jairo Moreno, author of Musical Representations, Subjects, and Objects

"This is a significant, comprehensive, and timely collection of essays. As the essays demonstrate, cumbia is probably the most widespread rhythm in the Americas. Yet, until now, its travels and transformations have not received systematic attention, taking into account the complexities of the genre's roots in northern coastal Colombia and its subsequent routes into Mexico, Peru, Argentina, and the United States. Cumbia! fills a crucial gap in the literature on Latin/o American popular music."—George Yúdice, author of The Expediency of Culture: Uses of Culture in the Global Era

“The clear, simple language makes the essays accessible, and contributors are to be commended for their excellent presentations...Highly recommended.” (K. W. Mukuna Choice)

"Together [the essays] introduce the reader to a broad range of Latin American musical practices that claim their roots in a specific regional genre but mean different things in different places. Cumbia! is essential reading for anyone interested in popular music studies, music and migration, globalization, and communication." (Helena Simonett Hispanic American Historical Review)

"The 'scenes' of this anthology range widely in a geographical sense and in the way that each writer approaches cumbia. Héctor Fernández l’Hoeste and Pablo Vila have assembled a collection of thoughtful essays and presented them in a logical sequence reflecting the outward migration of cumbia from its origins." (Carlos Pena Notes)

“[T]he volume underscores cumbia’s potential as a subject of academic inquiry and should inspire scholarship with a more integrative perspective. [The book] is a laudable effort to establish an understudied Latin American popular music in Anglophone academic discourse.” (Sven Kube Journal of Popular Culture)

About the Author

Héctor Fernández L'Hoeste is Professor in the Department of Modern and Classical Languages and Director of the Center for Latin American and Latino/a Studies at Georgia State University. He is coeditor, with Deborah Pacini Hernandez and Eric Zolov, of Rockin' Las Américas: The Global Politics of Rock in Latin/o America.

Pablo Vila is Professor of Sociology at Temple University. He is coauthor, with Pablo Semán, of Troubling Gender: Youth and Cumbia in Argentina's Music Scene.

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What happens when ritual practitioners from a small Pacific nation make an intellectual property claim to bungee jumping? When a German company successfully sues to defend its trademark of a Māori name? Or when UNESCO deems ephemeral sand drawings to be "intangible cultural heritage"? In Treasured Possessions, Haidy Geismar examines how global forms of cultural and intellectual property are being redefined by everyday people and policymakers in two markedly different Pacific nations. The New Hebrides, a small archipelago in Melanesia managed jointly by Britain and France until 1980, is now the independent nation-state of Vanuatu, with a population that is more than 95 percent indigenous. New Zealand, by contrast, is a settler state and former British colony that engages with its entangled Polynesian and British heritage through an ethos of "biculturalism" that is meant to involve an indigenous population of just 15 percent. Alternative notions of property, resources, and heritage—informed by distinct national histories—are emerging in both countries. These property claims are advanced in national and international settings, but they emanate from specific communities and cultural landscapes, and they are grounded in an awareness of ancestral power and inheritance. They reveal intellectual and cultural property to be not only legal constructs but also powerful ways of asserting indigenous identities and sovereignties.

Sales Rank: #777059 in Books
Published on: 2013-06-04
Original language: English
Number of items: 1
Dimensions: 8.50" h x .80" w x 6.60" l, 1.25 pounds
Binding: Paperback
328 pages

Review
"Treasured Possessions is a wonderful achievement of presenting the contemporary entanglements of indigeneity with a range of globalizing cultural forms (copyright, trademark, and cultural property), accounting for these articulations as extending local agencies but not simply a pure culture of a past. Haidy Geismar's mastery of the intricacies of cultural forms and histories not only in Vanuatu but also in New Zealand is impressive, detailed, and provocative. It is undertaken in a clear-eyed fashion that shows indigenization is not a simple thing, a single strand, or even always one-directional, but it is a process constituting new alternatives for thinking about culture in the twenty-first century."—Fred R. Myers, author of Painting Culture: The Making of an Aboriginal High Art

"In this exciting and original study, Haidy Geismar moves us well beyond the stale and stereotypical dichotomies that characterize too many discussions of intellectual property and indigeneity. She scrutinizes the dynamic ways that ongoing explorations of property models for cultural resources promise to transform understandings of polity and sovereignty."—Rosemary J. Coombe, author of The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law

“The author seamlessly shows how localized indigenous issues have influenced, if not shaped, national and global legal mandates and policies concerning intellectual and cultural property rights of tangible and intangible resource. . . . Recommended.” (G. R. Campbell Choice)

“Treasured Possessions is a very welcome and much-needed book, one that really moves anthropological conversations fast-forward in the area of indigenous intellectual and cultural property (ICP)… [It] is a compelling work, and an ideal and stimulating text for a course in the anthropology of intellectual and cultural property.” (Steven Feld Journal of Anthropological Research)

"Treasured Possessions is a vital read for scholars and practicioners in the field of cultural and intellectual property, illustrating how global legal regimes are put to use in indigenous discourses. The book’s findings are relevant to indigenous issues, and more generally constitute a counterpart to research on the emergence of global norms and shed light on the interplay between international processes and their implementation in local contexts." (Stefan Groth Journal of Folklore Research)

" . . . Geismar's attention to provincializing and indigenizing processes shows us how to do so." (Tressa Berman Museum Anthropology)

"A must-read for those working on indigenous intellectual and cultural property rights." (Anna-Karina Hermkens Pacific Affairs)

“The rich material and analysis in Treasured Possessions are enough to recommend it, but the book also performs a pedagogical service to anthropology. Geismar assumes no background in intellectual and cultural property issues but manages to draw the reader efficiently into the core contradictions and dilemmas at play, deftly interweaving concrete examples with insights from key figures in the field. . . . Consequently this book may serve as an accessible introduction to anthropological approaches to cultural and intellectual property, as well as an exciting new contribution to that field. It should be useful in courses on native and indigenous studies, museum studies, and the anthropology of law and property theory.” (Kathryn E. Graber American Anthropologist)

About the Author

Haidy Geismar is Lecturer in Digital Anthropology and Material Culture at University College London, and Associate Professor of Anthropology and Museum Studies at New York University. She is coauthor (with Anita Herle) of Moving Images: John Layard, Fieldwork, and Photography on Malakula since 1914 and Associate Editor of the International Journal of Cultural Property.

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Cuba's first republican era (1902–1959) is principally understood in terms of its failures and discontinuities, typically depicted as an illegitimate period in the nation's history, its first three decades and the overthrow of Machado at best a prologue to the "real" revolution of 1959. State of Ambiguity brings together scholars from North America, Cuba, and Spain to challenge this narrative, presenting republican Cuba instead as a time of meaningful engagement—socially, politically, and symbolically. Addressing a wide range of topics—civic clubs and folkloric societies, science, public health and agrarian policies, popular culture, national memory, and the intersection of race and labor—the contributors explore how a broad spectrum of Cubans embraced a political and civic culture of national self-realization. Together, the essays in State of Ambiguity recast the first republic as a time of deep continuity in processes of liberal state- and nation-building that were periodically disrupted—but also reinvigorated—by foreign intervention and profound uncertainty.

Contributors. Imilcy Balboa Navarro, Alejandra Bronfman, Maikel Fariñas Borrego, Reinaldo Funes Monzote, Marial Iglesias Utset, Steven Palmer, José Antonio Piqueras Arenas, Ricardo Quiza Moreno, Amparo Sánchez Cobos, Rebecca J. Scott, Robert Whitney

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Jumat, 22 Januari 2016

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Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.

A Social History of Iranian Cinema

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Kamis, 21 Januari 2016

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In My Father's House, the political philosopher Thomas Dumm explores a series of stark and melancholy paintings by the American artist Will Barnet. Responding to the physical and mental decline of his sister Eva, who lived alone in the family home in Beverly, Massachusetts, Barnet began work in 1990 on what became a series of nine paintings depicting Eva and other family members, as they once were and as they figured in the artist's memory. Rendered in Barnet's signature quiet, abstract style, the paintings, each featured in full color, present the ordinary and extraordinary aspects of a twentieth-century American family.

Dumm first became acquainted with Barnet and his paintings in 2008. Given his scholarly focus on the lives of ordinary people, he was immediately attracted to the artist's work. When they met, Dumm and Barnet began a friendship and dialogue that lasted until the painter's death in 2012, at the age of 101. This book reflects the many discussions the two had concerning the series of paintings, Barnet's family, his early life in Beverly, and his eighty-year career as a prominent New York artist. Reading the almost gothic paintings in conversation with the writers and thinkers key to both his and Barnet's thinking—Emerson, Spinoza, Dickinson, Benjamin, Cavell, Nietzsche, Melville—Dumm's haunting meditations evoke broader reflections on family, mortality, the uncanny, and the loss that comes with remembrance.

Sales Rank: #1922099 in Books
Brand: Dumm, Thomas
Published on: 2014-09-29
Original language: English
Number of items: 1
Dimensions: 8.00" h x .60" w x 6.30" l,
Binding: Hardcover
144 pages

Most helpful customer reviews

4 of 4 people found the following review helpful.
Highly recommended. I live very close to his father's house ...
By Ricardo Fernandez
Highly recommended. I live very close to his father's house on Prospect Hill in Beverly. Mine is a house of the same vintage and style and while reading the book and looking at the paintings, I've experienced the feelings conveyed by both author and artist. We inhabit such place for a brief moment between eternities and the pain, loss and loneliness of previous dwellers can be sensed particularly in the quiet dawn twilight of Barnet's palette. It took Professor Dumm's beautiful prose to bring this all out and for that I thank him.
The house today:

2 of 2 people found the following review helpful.
A great read. Dumm begins by reflecting on families
By Melih
A great read. Dumm begins by reflecting on families, houses and solitude, and then moves onto look at how each painting informs these concepts. Dumm's writing is consistently clear and accessible. He establishes many interesting conversations with literary figures and various theorists to shed light on his explications of these paintings. Dumm perhaps poses more questions than answers but this is worthwhile because he gives us a vocabulary to reflect on these questions in his beautiful introduction. Highly recommended!

0 of 0 people found the following review helpful.
A House in Beverly and Beyond
By Sally Ann Sims
I am mostly familiar with Will Barnet's work through his delightful seriographs of the 1970s. I didn't know about the My Father's House series of paintings, now donated to colleges around New England, until I read this book. It isn't art criticism or history, it is a well-considered musing on the artist's struggle to reflect memory, family, and place, while connecting the past to the future and back to the past. And on how we live going forward with all the terror and beauty of life. The essay writing style of the text invites us to consider our own thoughts and reactions to the paintings. As with other art, meaning comes from both the artist and the viewer...or reader.

-Sally Ann Sims, author of Halt at X: A North of Boston Novel

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Rabu, 20 Januari 2016

! Download PDF In the Meantime: Temporality and Cultural Politics, by Sarah Sharma

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The world is getting faster. This sentiment is proclaimed so often that it is taken for granted, rarely questioned or examined by those who celebrate the notion of an accelerated culture or by those who decry it. Sarah Sharma engages with that assumption in this sophisticated critical inquiry into the temporalities of everyday life. Sharma conducted ethnographic research among individuals whose jobs or avocations involve a persistent focus on time: taxi drivers, frequent-flyer business travelers, corporate yoga instructors, devotees of the slow-food and slow-living movements. Based on that research, she develops the concept of "power-chronography" to make visible the entangled and uneven politics of temporality. Focusing on how people's different relationships to labor configures their experience of time, she argues that both "speed-up" and "slow-down" often function as a form of biopolitical social control necessary to contemporary global capitalism.

Sales Rank: #566842 in Books
Published on: 2014-02-07
Released on: 2014-02-07
Original language: English
Number of items: 1
Dimensions: 9.00" h x .52" w x 6.00" l, .65 pounds
Binding: Paperback
208 pages

Review
"In these dispatches from the frontlines of global capitalism, Sarah Sharma shows the unequal distribution of what Lewis Mumford decades ago called shock absorbers. Harold Innis meets Marx and postcolonial theory: time turns out to have both a price and color. The tale that life is getting faster will never look the same once you’ve read the vivid slices of life portrayed in this book." (John Durham Peters, author of Speaking into the Air: A History of the Idea of Communication)

"A thoughtful book on an important topic, In the Meantime is filled with rich ethnographic detail. I loved the chapter on taxi drivers and appreciate the integrity and intelligence that Sarah Sharma brings to bear in her analyses of middle-class and wealthy subjects, groups that can and should be studied with care and attention." (Caren Kaplan, author of Questions of Travel: Postmodern Discourses of Displacement)

"In The Meantime reads like a novel. Sharma’s sharp attack on speedup believers is accentuated with detailed portraits of the lives at the core and at the margins of global capital. It is this vivid composite of detailed narratives that describe the social fabric of time which drives you through the pages.... Sharma has found a very convincing perspective in which the human body becomes the nexus of the shift from spatial to temporal power relations. Her image of the social fabric of time is great in its vividness and physicality." (Hartmut Wilkening Institute of Network Cultures blog)

"In the Meantime persuasively argues a provocative thesis about temporality in society. The thesis is bold, compelling, and would be widely interesting to scholars in cultural studies and media studies.... Sharma achieves a sophisticated balance of cultural theory, ethnographic research, and personal prose." (Timothy Ballingall itineration.org)

“Any scholars interested in the work of those theorists or who are engaging with issues of temporality, globalization, neoliberalism, governmentality, labor, and/or embodiment will find valuable insights and discussions in this book.” (Josh Smicker International Journal of Communication)

"There are hugely enjoyable moments in this book. Many will recognise the 'public display of busyness' of people on their laptops in cafes and transport hubs (p. 53).... Sharma's portraits and vignettes are required reading for academics and non-academics alike." (Ben O’Loughlin Media, Culture, & Society)

“Sharma’s call for a collective sharing of time, a reimagining of the temporal that would free it from our individual fixations on having too little time, and thus incorporate those who live in the shadows or margins of our global, temporal, capital world, is an ambitious and laudable project. In the Meantime , then, provides, through a mix of personal anecdotes and interviews, an engaging account from both the margins and heart of global capitalism.” (Johannes Grow Spectra: The Aspect Journal)

"In providing rich insight into temporal inequalities and interdependencies, this book surely deserves a place in the canon of eye-opening, empirically rich but theoretically sweeping forays into the social, cultural, political, and market structures that dictate the terms of everyday life." (Melissa Mazmanian ILR Review 2016-03-01)

About the Author

Sarah Sharma is Associate Professor of Media and Cultural Studies in the Department of Communication Studies at the University of North Carolina, Chapel Hill.

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