Sensual Excess

Reimagines black and brown sensuality to develop new modes of knowledge production In Sensual Excess, Amber Jamilla Musser imagines epistemologies of sensuality that emerge from fleshiness. To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago’s The Dinner Party, Kara Walker’s A Subtlety, Patty Chang’s In Love and Nao Bustamante’s Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.

Reimagines black and brown sensuality to develop new modes of knowledge production In Sensual Excess, Amber Jamilla Musser imagines epistemologies of sensuality that emerge from fleshiness. To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago's The Dinner Party, Kara Walker's A Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.

Beyond Man reimagines the meaning and potential of a philosophy of religion that better attends to the inextricable links among religion, racism, and colonialism. An Yountae, Eleanor Craig, and the contributors reckon with the colonial and racial implications of the field's history by staging a conversation with Black, Indigenous, and decolonial studies. In their introduction, An and Craig point out that European-descended Christianity has historically defined itself by its relation to the other while paradoxically claiming to represent and speak to humanity in its totality. The topics include secularism, the Eucharist's relation to Blackness, and sixteenth-century Brazilian cannibalism rituals as well as an analysis of how Mircea Eliade's conception of the sacred underwrites settler colonial projects and imaginaries. Throughout, the contributors also highlight the theorizing of Afro-Caribbean thinkers such as Sylvia Wynter, C. L. R. James, Frantz Fanon, and Aimé Césaire whose work disrupts the normative Western categories of religion and philosophy. Contributors. An Yountae, Ellen Armour, J. Kameron Carter, Eleanor Craig, Amy Hollywood, Vincent Lloyd, Filipe Maia, Mayra Rivera, Devin Singh, Joseph R. Winters

"This is a major book for the field of contemporary Latin American poetry, original in its scope, depth, and breadth.... It is a showcase of recent currents of expression in Latin America." —Jacobo Sefamí, Associate Professor of Spanish and Portuguese, University of California, Irvine Has poetry lost its relevance in the postmodern age, unable to keep pace with other forms of cultural production such as film, mass media, and the Internet? Quite the contrary, argues Jill Kuhnheim in this pathfinding book, which explores how recent Spanish American poetry participates in the fundamental cultural debates of its time. Using a variety of interdisciplinary approaches, Kuhnheim engages in close readings of numerous poetic works to show how contemporary Spanish American poetry struggles with the divisions between politics and aesthetics and between visual and written images; grapples with issues of ethnic, national, sexual, and urban identities; and incorporates rather than rejects technological innovations and elements from the mass media. Her analysis illuminates the ways in which contemporary issues such as indigenismo and Latin America's postcolonial legacy, modernization, immigration, globalization, economic shifts toward neoliberalism and informal economies, urbanization, and the technological revolution have been expressed in—and even changed the very form of—Spanish American poetry since the 1970s.

Sensual Reading is a collection of essays that attempts to rearticulate the relationship between reading and the different senses as a way of moving beyond increasingly homogenized discourses of the "body" and the "subject." Contributions engage with the individual senses, with the themes of sensory richness and sensory deprivation, and with the notion of "telesensuality."

He needs a temporary marriage. She needs an investor for her start-up. Let the negotiations begin in this new Dynasties: Tech Tycoons novel by New York Times bestselling author Shannon McKenna. Step 1: Draw a random name. Step 2: Propose… Playboy Marcus Moss is the only sibling who hasn’t fulfilled his grandmother’s decree: marry or lose the family company. So he draws a name from all the single women working on special projects for MossTech: Eve Seaton. A brilliant, beautiful geneticist who can pretend to be his wife while he finds investors for her groundbreaking work. Win-win. Eve can’t resist Marcus’s promise to launch her start-up—or their sizzling attraction! But will the truth about Marcus’s motives derail their arrangement? From Harlequin Desire: A luxurious world of bold encounters and sizzling chemistry. You’ll be swept away by this bold, sizzling romance, part of the Dynasties: Tech Tycoons series: Book 1: Their Marriage Bargain Book 2: The Marriage Mandate Book 3: How to Marry a Bad Boy Book 4: Married by Midnight

The author uses masochism as a lens to examine how power structures race, gender, and embodiment in different contexts. Musser employs masochism as a tool for probing relationships between power and subjectivity. Engaging with a range of debates about lesbian S&M, racialization, femininity, and disability, as well as key texts such as Sacher-Masoch's Venus in Furs, Pauline Réage's The Story of O, and Michel Foucault's History of Sexuality, Musser renders legible the complex ways that masochism has been taken up by queer, feminist, and critical race theories. Furthering queer theory's investment in affect and materiality, she proposes "sensation" as an analytical tool for illustrating what it feels like to be embedded in structures of domination such as patriarchy, colonialism, and racism and what it means to embody femininity, blackness, and pain.