The Crisis In The German Social Democracy The Junius Pamphlet With A Portrait

She shows how the Language poets, a group of primarily white experimental writers, restored to the canon what they saw as modernism's true legacy, whose stakes were simultaneously political and epistemological: it produced a poet who was an intellectual and a text that was experimental.

Current histories seem to suggest that men alone have been capable of the development of ideas, analysis, and practice of international law until the 1990s. Is this the case? Or have others been erased from the collective images of this history, including the portrait gallery of notables in international law? Portraits of Women in International Law: New Names and Forgotten Faces? investigates the slow and late inclusion of women in the spheres of knowledge and power in international law. The forty-two textual and visual representations by a diverse team of passionate portraitists represent women and gender non-conforming people in international law from the fourteenth century onwards around the world: individuals and groups who imagined, developed, or contested international law; who earned their living in its institutions; or who, even indirectly, may have changed its course. This rich volume calls for a critical identification of the formal and informal institutional practices, norms, and rituals of (white) masculinities, both in the past and in the research of international law today. By abandoning reductive histories, their biased frames, and tacit assumptions, this work brings previously unseen glimpses of international law and its agents, ideas, causes, behaviour, norms, and social practices into the spotlight.

This is the first comprehensive, multidisciplinary, and multilingual bibliography on "Women and Gender in East Central Europe and the Balkans (Vol. 1)" and "The Lands of the Former Soviet Union (Vol. 2)" over the past millennium. The coverage encompasses the relevant territories of the Russian, Hapsburg, and Ottoman empires, Germany and Greece, and the Jewish and Roma diasporas. Topics range from legal status and marital customs to economic participation and gender roles, plus unparalleled documentation of women writers and artists, and autobiographical works of all kinds. The volumes include approximately 30,000 bibliographic entries on works published through the end of 2000, as well as web sites and unpublished dissertations. Many of the individual entries are annotated with brief descriptions of major works and the tables of contents for collections and anthologies. The entries are cross-referenced and each volume includes indexes.

Explores contemporary art that challenges deadly desires for mastery and dominion. Amid times of emboldened cruelty and perpetual war, Rosalyn Deutsche links contemporary art to three practices that counter the prevailing destructiveness: psychoanalytic feminism, radical democracy, and war resistance. Deutsche considers how art joins these radical practices to challenge desires for mastery and dominion, which are encapsulated in the Eurocentric conception of the human that goes under the name “Man” and is driven by deadly inclinations that Deutsche calls masculinist. The masculinist subject—as an individual or a group—universalizes itself, claims to speak on behalf of humanity, and meets differences with conquest. Analyzing artworks by Christopher D’Arcangelo, Robert Filliou, Hans Haacke, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Louise Lawler, Martha Rosler, James Welling, and Krzysztof Wodiczko, Deutsche illuminates the diverse ways in which they expose, question, and trouble the visual fantasies that express masculinist desire. Undermining the mastering subject, these artworks invite viewers to question the positions they assume in relation to others. Together, the essays in Not-Forgetting, written between 1999 and 2020, argue that this art offers a unique contribution to building a less cruel and violent society.