＜p＞To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency; in doing so, he shows how creativity is stirred within the networks of digital culture.＜/p＞ ＜p＞＜em＞Noise Channels＜/em＞ offers a fresh look at hypertext and tactical media, tunes into laptop music, and situates the emergent forms of computer gaming and machinima in media history. Krapp analyzes text, image, sound, virtual spaces, and gestures in noisy channels of computer-mediated communication that seek to embraceーrather than overcomeーthe limitations and misfires of computing. Equally at home with online literature, the visual tactics of hacktivism, the recuperation of glitches in sound art, electronica, and videogames, or machinima as an emerging media practice, he explores distinctions between noise and information, and how games pivot on errors at the human?computer interface.＜/p＞ ＜p＞Grounding the digital humanities in the conditions of possibility of computing culture, Krapp puts forth his insight on the critical role of information in the creative process.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞"＜/p＞ ＜p＞In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followedーa story told in full for the first time in John Harwood’s ＜em＞The Interface＜/em＞ーremade IBM in a way that would also transform the relationships between design, computer science, and corporate culture.＜/p＞ ＜p＞IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. ＜em＞The Interface＜/em＞ offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural designーinformation and management theory, cybernetics, ergonomics, computer scienceーbecame integral aspects of design.＜/p＞ ＜p＞As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, ＜em＞The Interface＜/em＞ supplies a crucial chapter in the story of architecture and design in postwar Americaーand an invaluable perspective on the computer and corporate cultures of today.＜/p＞ ＜p＞"＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Penumbra Theatre Company was founded in 1976 by Lou Bellamy as a venue for African American voices within the Twin Cities theatre scene and has stood for more than thirty-five years at the intersection of art, culture, politics, and local community engagement. It has helped launch the careers of many internationally respected theatre artists and has been repeatedly recognized for its artistic excellence as the nation’s foremost African American theatre.＜/p＞ ＜p＞＜em＞Penumbra＜/em＞ is the first-ever history of this barrier-breaking institution. Based on extensive interviews with actors, directors, playwrights, producers, funders, and critics, Macelle Mahala’s book offers a multifaceted view of the theatre and its evolution. ＜em＞Penumbra＜/em＞ follows the company’s emergence from the influential Black Arts and settlement house movements; the pivotal role Penumbra played in the development of August Wilson’s career and, in turn, how Wilson became an avid supporter and advocate throughout his life; the annual production of ＜em＞Black Nativity＜/em＞ as a community-building performance; and the difficult economics of African American theatre production and how Penumbra has faced these challenges for nearly four decades.＜/p＞ ＜p＞＜em＞Penumbra＜/em＞ is a testament to how a theatre can respond to and thrive within changing political and cultural realities while contributing on a national scale to the African American presence on the American stage. It is a celebration of theatre as a means of social and cultural involvementーboth local and nationalーand ultimately, of Penumbra’s continuing legacy of theatre that is vibrant, diverse, and vital.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In our wired world, visual images of military conflict and political strife are ubiquitous. Far less obvious, far more elusive, is ＜em＞how＜/em＞ we see such images, how witnessing military violence and suffering affects us. ＜em＞Distant Wars Visible＜/em＞ brings a new perspective to such enduring questions about conflict photography and other forms of visual advocacy, whether in support of U.S. military objectives or in critique of the nation at war.＜/p＞ ＜p＞At the book’s center is what author Wendy Kozol calls an analytic of ambivalenceーa critical approach to the tensions between spectacle and empathy provoked by gazing at military atrocities and trauma. Through this approach, ＜em＞Distant Wars Visible＜/em＞ uses key concepts such as the politics of recoil, the notion of looking elsewhere, skeptical documents, and ethical spectatorship to examine multiple visual cultural practices depicting war, on and off the battlefield, from the 1999 NATO bombings in Kosovo to the present.＜/p＞ ＜p＞Kozol’s analysis draws from collections of family photographs, human rights photography, independent film production, photojournalism, and other examples of war’s visual culture, as well as extensive visual evidence of the ways in which U.S. militarism operates to maintain geopolitical dominanceーfrom Fallujah and Abu Ghraib to the most recent drone strikes in Pakistan.＜/p＞ ＜p＞Throughout, Kozol reveals how factors such as gender, race, and sexuality construct competing visualizations of identity in a range of media from graphic narrative and film to conflict photography and battlefield souvenirsーand how contingencies and contradictions in visual culture shape the politics and ethics of witnessing.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞WInner of the Best First Book from the Native American and Indigenous Studies Association＜br /＞ Winner of the Labriola Center American Indian National Book Award＜br /＞ Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre Research＜/strong＞＜/p＞ ＜p＞＜strong＞Reimagining how we understand and write about the Indigenous listening experience＜/strong＞＜/p＞ ＜p＞＜em＞Hungry Listening＜/em＞ is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine.＜/p＞ ＜p＞With case studies on Indigenous participation in classical music, musicals, and popular music, ＜em＞Hungry Listening＜/em＞ examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, ＜em＞Hungry Listening＜/em＞ offers examples of “doing sovereignty” in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence.＜/p＞ ＜p＞Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The “Hip-hop Nation” has been scouted, staked out, and settled by journalists and scholars alike. Antonio T. Tiongson Jr. steps into this well-mapped territory with questions aimed at interrogating how nation is conceptualized within the context of hip-hop. What happens, Tiongson asks, to notions of authenticity based on hip-hop’s apparent blackness when Filipino youth make hip-hop their own?＜/p＞ ＜p＞Tiongson draws on interviews with Bay Area?based Filipino American DJs to explore the authenticating strategies they rely on to carve out a niche within DJ culture. He shows how Filipino American youth involvement in DJing reconfigures the normal boundaries of Filipinoness predicated on nostalgia and cultural links with an idealized homeland. ＜em＞Filipinos Represent＜/em＞ makes the case that while the engagement of Filipino youth with DJ culture speaks to the broadening racial scope of hip-hopーand of what it means to be Filipinoーsuch involvement is also problematic in that it upholds deracialized accounts of hip-hop and renders difference benign.＜/p＞ ＜p＞Looking at the ways in which Filipino DJs legitimize their place in an expressive form historically associated with African Americans, Tiongson examines what these complex forms of identification reveal about the contours and trajectory of contemporary U.S. racial formations and discourses in the post?civil rights era.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An in-depth look into the transformation of visual culture and digital aesthetics＜/strong＞＜/p＞ ＜p＞First introduced by the German filmmaker Harun Farocki, the term ＜em＞operational images＜/em＞ defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.＜/p＞ ＜p＞Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.＜/p＞ ＜p＞Serving as an extensive guide to a key concept in contemporary art, design, and media theory, ＜em＞Operational Images＜/em＞ explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality.＜/p＞ ＜p＞Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Introduction by Werner Sollors＜/p＞ ＜p＞Adrienne Kennedy has been a force in American theatre since the early 1960s, influencing generations of playwrights with her hauntingly fragmentary lyrical dramas. Exploring the violence racism visits upon people’s lives, Kennedy’s plays express poetic alienation, transcending the particulars of character and plot through ritualistic repetition and radical structural experimentation. Frequently produced, read, and taught, they continue to hold a significant place among the most exciting dramas of the past fifty years.＜/p＞ ＜p＞This first comprehensive collection of her most important works traces the development of Kennedy’s unique theatrical oeuvre from her Obie-winning Funnyhouse of a Negro (1964) through significant later works such as A Movie Star Has to Star in Black and White (1976), Ohio State Murders (1992), and June and Jean in Concert, for which she won an Obie in 1996. The entire contents of Kennedy’s groundbreaking collections In One Act and The Alexander Plays are included, as is her earliest work "Because of the King of France" and the play An Evening with Dead Essex (1972). More recent prose writings "Secret Paragraphs about My Brother," "A Letter to Flowers," and "Sisters Etta and Ella" are fascinating refractions of the themes and motifs of her dramatic works, even while they explore new material on teaching and writing. An introduction by Werner Sollors provides a valuable overview of Kennedy’s career and the trajectory of her literary development.＜/p＞ ＜p＞Adrienne Kennedy (b. 1931) is a three-time Obie-award winning playwright whose works have been widely performed and anthologized. Among her many honors are the American Academy of Arts and Letters award and the Guggenheim fellowship. In 1995-6, the Signature Theatre Company dedicated its entire season to presenting her work. She has been commissioned to write works for the Public Theater, Jerome Robbins, the Royal Court Theatre, the Mark Taper Forum, and Juilliard, and she has been a visiting professor at Yale, Princeton, Brown, the University of California at Berkeley, and Harvard. She lives in New York City.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Toward a posthumanist art and ethology＜/strong＞＜/p＞ ＜p＞＜em＞The Owls Are Not What They Seem＜/em＞ is a selective history of modern and contemporary engagements with animals in the visual arts and how these explorations relate to the evolution of scientific knowledge regarding animals. Arnaud Gerspacher argues that artistic knowledge, with its experimental nature, ability to contain contradictions, and more capacious understanding of truth-claims, presents a valuable supplement to scientific knowledge when it comes to encountering and existing alongside nonhuman animals and life worlds.＜/p＞ ＜p＞Though critical of art works involving animals that are unreflective and exploitative, Gerspacher’s exploration of aesthetic practices by Allora & Calzadilla, Pierre Huyghe, Agnieszka Kurant, Araya Rasdjarmrearnsook, Martin Roth, David Weber-Krebs, and others suggests that, alongside scientific practices, art has much to offer in revealing the otherworldly qualities of animals and forging ecopolitical solidarities with fellow earthlings.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞An industrial city on the outskirts of Stockholm, S?dert?lje is the global capital of the Syriac Orthodox Christian diaspora, an ethnic and religious minority group fleeing persecution and discrimination in the Middle East. Since the 1960s, this Syriac community has transformed the standardized welfare state spaces of the city’s neighborhoods into its own “Mesopot?lje,” defined by houses with Mediterranean and other international influences, a major soccer stadium, and massive churches and social clubs. Such projects have challenged principles of Swedish utopian architecture and planning that explicitly emphasized the erasure of difference. In ＜em＞The Construction of Equality＜/em＞, Jennifer Mack shows how Syriac-instigated architectural projects and spatial practices have altered the city’s built environment “from below,” offering a fresh perspective on segregation in the European modernist suburbs.＜/p＞ ＜p＞Combining architectural, urban, and ethnographic tools through archival research, site work, participant observation (among residents, designers, and planners), and interviews, Mack provides a unique take on urban development, social change, and the immigrant experience in Europe over a fifty-year period. Her book shows how the transformation of space at the urban scaleーthe creation and evolution of commercial and social districts, for exampleーoperates through the slow accumulation of architectural projects. As Mack demonstrates, these developments are not merely the result of the grassroots social practices usually attributed to immigrants but instead are officially approved through dialogues between residents and design professionals: accredited architects, urban planners, and civic bureaucrats. Mack attends to the tensions between the “enclavization” practices of a historically persecuted minority group, the integration policies of the Swedish welfare state and its planners, and European nativism.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from na?ve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, ＜em＞Quotational Practices＜/em＞ shows how artists and writers use quotation not to undermine authorship and originality, but to answer questions at the heart of twentieth-century philosophies of history.＜/p＞ ＜p＞Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place.＜/p＞ ＜p＞Ultimately, ＜em＞Quotational Practices＜/em＞ reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediumsーfrom concrete poetry and the artist’s book to performance, painting, and video art.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A major work destined to change how scholars and students look at television and animation＜/strong＞＜/p＞ ＜p＞With the release of author Thomas Lamarre’s field-defining study ＜em＞The Anime Machine＜/em＞, critics established Lamarre as a leading voice in the field of Japanese animation. He now returns with ＜em＞The Anime Ecology＜/em＞, broadening his insights to give a complete account of anime’s relationship to television while placing it within important historical and global frameworks.＜/p＞ ＜p＞Lamarre takes advantage of the overlaps between television, anime, and new mediaーfrom console games and video to iOS games and streamingーto show how animation helps us think through television in the contemporary moment. He offers remarkable close readings of individual anime while demonstrating how infrastructures and platforms have transformed anime into emergent media (such as social media and transmedia) and launched it worldwide.＜/p＞ ＜p＞Thoughtful, thorough illustrations plus exhaustive research and an impressive scope make ＜em＞The Anime Ecology＜/em＞ at once an essential reference book, a valuable resource for scholars, and a foundational textbook for students.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An important new approach to the study of laboratories, presenting a practical method for understanding labs in all walks of life＜/strong＞＜/p＞ ＜p＞From the “Big Science” of Bell Laboratories to the esoteric world of s?ance chambers to university media labs to neighborhood makerspaces, places we call “labs” are everywhereーbut how exactly do we account for the wide variety of ways that they produce knowledge? More than imitations of science and engineering labs, many contemporary labs are hybrid forms that require a new methodological and theoretical toolkit to describe. ＜em＞The Lab Book＜/em＞ investigates these vital, creative spaces, presenting readers with the concept of the “hybrid lab” and offering an extendedーand rareーcritical investigation of how labs have proliferated throughout culture.＜/p＞ ＜p＞Organized by interpretive categories such as space, infrastructure, and imaginaries, The Lab Book uses both historical and contemporary examples to show how laboratories have become fundamentally connected to changes in the contemporary university. Its wide reach includes institutions like the MIT Media Lab, the Tuskegee Institute’s Jesup Wagon, ACTLab, and the Media Archaeological Fundus. The authors cover topics such as the evolution and delineation of lab-based communities, how labs’ tools and technologies contribute to defining their space, and a glossary of key hybrid lab techniques.＜/p＞ ＜p＞Providing rich historical breadth and depth, ＜em＞The Lab Book＜/em＞ brings into focus a critical, but often misunderstood, aspect of the contemporary arts and humanities.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞I do not follow ideas, I stumble into stories or into people; and I know that this is so big, I have to make a film. Very often, films come like uninvited guests, like burglars in the middle of the night. They are in your kitchen; something is stirring, you wake up at 3 a.m. and all of a sudden they come wildly swinging at you.＜/em＞＜/p＞ ＜p＞＜em＞When I write a screenplay, I write it as if I have the whole film in front of my eyes. Then it is very easy for me, and I can write very, very fast. It is almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the eighth and ninth century, reading old Icelandic poetry, reading some of the finest German poets like H?lderlin. All of this has absolutely nothing to do with the idea of my film, but I work myself up into this kind of frenzy of high-caliber language and concepts and beauty.＜/em＞＜/p＞ ＜p＞＜em＞And then sometimes I push myself by playing music, for example, a piano concerto by Beethoven, and I play it and write furiously. But none of this is an answer to the question of how you focus on a single idea for a film. And then, during shooting, you have to depart from it sometimes, while keeping it alive in its essence.＜/em＞＜/p＞ ＜p＞＜em＞＜strong＞ーWerner Herzog, on filmmaking＜/strong＞＜/em＞＜/p＞ ＜p＞Werner Herzog doesn’t write traditional screenplays. He writes fever dreams brimming with madness, greed, humor, and dark isolation that can shift dramatically during productionーand have materialized into extraordinary masterpieces unlike anything in film today. Harnessing his vision and transcendent reality, these four pieces of long-form prose earmark a renowned filmmaker at the dawn of his career.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞For Mormons, the second coming of Christ and the subsequent millennium will arrive only when the earth has been perfected through the building of a model world called Zion. Throughout the nineteenth century the Latter-day Saints followed this vision, creating a material worldーfirst in Missouri and Illinois but most importantly and permanently in Utah and surrounding western statesーthat serves as a foundation for understanding their concept of an ideal universe.＜/p＞ ＜p＞＜em＞Building Zion＜/em＞ is, in essence, the biography of the cultural landscape of western LDS settlements. Through the physical forms Zion assumed, it tells the life story of a set of Mormon communitiesーhow they were conceived and constructed and inhabitedーand what this material manifestation of Zion reveals about what it meant to be a Mormon in the nineteenth century. Focusing on a network of small towns in Utah, Thomas Carter explores the key elements of the Mormon cultural landscape: town planning, residences (including polygamous houses), stores and other nonreligious buildings, meetinghouses, and temples. Zion, we see, is an evolving entity, reflecting the church’s shift from group-oriented millenarian goals to more individualized endeavors centered on personal salvation and exaltation.＜/p＞ ＜p＞＜em＞Building Zion＜/em＞ demonstrates how this cultural landscape draws its singularity from a unique blending of sacred and secular spaces, a division that characterized the Mormon material world in the late nineteenth century and continues to do so today.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Delves deep into the archives that keep the history and work of AIDS activism alive＜/strong＞＜/p＞ ＜p＞Serving as a vital supplement to the existing scholarship on AIDS activism of the 1980s and 1990s, ＜em＞Viral**Cultures＜/em＞ is the first book to critically examine the archives that have helped preserve and create the legacy of those radical activities. Marika Cifor charts the efforts activists, archivists, and curators have made to document the work of AIDS activism in the United States and the infrastructure developed to maintain it, safeguarding the material for future generations to remember these social movements and to revitalize the epidemic’s past in order to remake the present and future of AIDS.＜/p＞ ＜p＞Drawing on large institutional archives such as the New York Public Library, as well as those developed by small, community-based organizations, this work of archival ethnography details how contemporary activists, artists, and curators use these records to build on the cultural legacy of AIDS activism to challenge the conditions of injustice that continue to undergird current AIDS crises. Cifor analyzes the various power structures through which these archives are mediated, demonstrating how ideology shapes the nature of archival material and how it is accessed and used. Positioning vital nostalgia as both a critical faculty and a generative practice, this book explores the act of saving this activist past and reanimating it in the digital age.＜/p＞ ＜p＞While many books, popular films, and major exhibitions have contributed to a necessary awareness of HIV and AIDS activism, ＜em＞Viral Cultures＜/em＞ provides a crucial missing link by highlighting the powerful role of archives in making those cultural moments possible.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The Signet Classics edition of William Shakespeare's timeless story of star-crossed lovers.＜/strong＞＜/p＞ ＜p＞One of the Bard's most popular plays, this is both the quintessential story of young love and a cautionary tale of the tragedy that can occur when the forces of passion and familial pride are at odds.＜/p＞ ＜p＞This title in the Signet Classics Shakespeare series includes:＜/p＞ ＜p＞? An overview of Shakespeare's life, world, and theater＜br /＞ ? A special introduction to the play by the editor, J.A. Bryant, Jr.＜br /＞ ? The source from which Shakespeare derived ＜em＞Romeo and Juliet＜/em＞, Arthur Brooke's ＜em＞The Tragicall Historye of Romeus and Juliet＜/em＞＜br /＞ ? Dramatic criticism from Samuel Johnson, Samuel Taylor Coleridge, Michael Goldman, and others＜br /＞ ? A comprehensive stage and screen history of notable actors, directors, and productions of ＜em＞Romeo and Juliet＜/em＞＜br /＞ ? Text, notes, and commentaries printed in the clearest, most readable format＜br /＞ ? Recommended readings＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A timely, politically savvy examination of how impossible disasters shape the very real possibilities of our world＜/strong＞＜/p＞ ＜p＞Why would the normally buttoned-down national security state imagine lurid future scenarios like a zombie apocalypse? In ＜em＞Training for Catastrophe＜/em＞, author Lindsay Thomas shows how our security regime reimagines plausibility to focus on unlikely and even unreal events rather than probable ones. With an in-depth focus on preparedness (a pivotal, emergent national security paradigm since 9/11) she explores how fiction shapes national security.＜/p＞ ＜p＞Thomas finds fiction at work in unexpected settings, from policy documents and workplace training manuals to comics and video games. Through these textsーas well as plenty of science fictionーshe examines the philosophy of preparedness, interrogating the roots of why it asks us to treat explicitly fictional events as real. Thomas connects this philosophical underpinning to how preparedness plays out in contemporary politics, emphasizing how it uses aesthetic elements like realism, genre, character, and plot to train people both to regard some disasters as normal and to ignore others.＜/p＞ ＜p＞＜em＞Training for Catastrophe＜/em＞ makes an important case for how these documents elicit consent and compliance. Thomas draws from a huge archive of textsーincluding a Centers for Disease Control comic about a zombie apocalypse, the work of Audre Lorde, and the political thrillers of former national security advisor Richard Clarkeーto ask difficult questions about the uses and values of fiction. A major statement on how national security intrudes into questions of art and life, ＜em＞Training for Catastrophe＜/em＞ is a timely intervention into how we confront disasters.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A major reassessment of photography’s pivotal role in 1960s conceptual art＜/strong＞＜/p＞ ＜p＞Why do we continue to look to photographs for evidence despite our awareness of photography’s potential for duplicity? ＜em＞Documents of Doubt＜/em＞ critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our “post-truth” world and the importance of suspending easy conclusions in contemporary art.＜/p＞ ＜p＞Considering the work of four leading conceptual artists of the 1960s and ’70s, Diack looks at photographs as documents of doubt, pushing the form beyond commonly assumed limits. Through in-depth and thorough reevaluations of early work by noted artists Mel Bochner, Bruce Nauman, Douglas Huebler, and John Baldessari, Diack advances the powerful thesis that photography provided a means of moving away from the object and toward performative effects, playing a crucial role in the development of conceptual art as a medium of doubt and contingency.＜/p＞ ＜p＞Discussing how unexpected and contradictory meanings can exist in the guise of ordinary pictures, ＜em＞Documents of Doubt＜/em＞ offers evocative and original ideas on truth’s connection to photography in the United States during the late 1960s and how conceptual art from that period anticipated our current era of “alternative facts” in contemporary politics and culture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Why Captain Ahab is worthy of our fearーand our compassion＜/strong＞＜/p＞ ＜p＞Herman Melville’s Captain Ahab is perennially seen as the paradigm of a controlling, tyrannical agent. ＜em＞Ahab Unbound＜/em＞ leaves his position as a Cold War icon behind, recasting him as a contingent figure, transformed by his environmentーby chemistry, electromagnetism, entomology, meteorology, diet, illness, pain, trauma, and neurons firingーin ways that unexpectedly force us to see him as worthy of our empathy and our compassion.＜/p＞ ＜p＞In sixteen essays by leading scholars, ＜em＞Ahab Unbound＜/em＞ advances an urgent inquiry into Melville’s emergence as a center of gravity for materialist work, reframing his infamous whaling captain in terms of pressing conversations in animal studies, critical race and ethnic studies, disability studies, environmental humanities, medical humanities, political theory, and posthumanism. By taking Ahab as a focal point, we gather and give shape to the multitude of ways that materialism produces criticism in our current moment. Collectively, these readings challenge our thinking about the boundaries of both persons and nations, along with the racist and environmental violence caused by categories like the person and the human.＜/p＞ ＜p＞＜em＞Ahab Unbound＜/em＞ makes a compelling case for both the vitality of materialist inquiry and the continued resonance of Melville’s work.＜/p＞ ＜p＞Contributors: Branka Arsi?, Columbia U; Christopher Castiglia, Pennsylvania State U; Colin Dayan, Vanderbilt U; Christian P. Haines, Pennsylvania State U; Bonnie Honig, Brown U; Jonathan Lamb, Vanderbilt U; Pilar Mart?nez Bened?, U of L’Aquila, Italy; Steve Mentz, St. John’s College; John Modern, Franklin and Marshall College; Mark D. Noble, Georgia State U; Samuel Otter, U of California, Berkeley; Donald E. Pease, Dartmouth College; Ralph James Savarese, Grinnell College; Russell Sbriglia, Seton Hall U; Michael D. Snediker, U of Houston; Matthew A. Taylor, U of North Carolina at Chapel Hill; Ivy Wilson, Northwestern U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞**The acclaimed Pelican Shakespeare series, now in a dazzling new series design＜/p＞ ＜p＞Winner of the 2016 AIGA + Design Observer 50 Books | 50 Covers competition＜/p＞ ＜p＞Gold Medal Winner of the 3x3 Illustration Annual No. 14**＜/p＞ ＜p＞This edition of ＜em＞Hamlet＜/em＞ is edited with an introduction by series editor A. R. Braunmuller and was recently repackaged with cover art by Manuja Waldia. Waldia received a Gold Medal from the Society of Illustrators for the Pelican Shakespeare series.＜/p＞ ＜p＞The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.＜/p＞ ＜p＞For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of viewーscientific, philosophical, religious, and literaryーthey suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity’s powers and potentialitiesーa belief that continues to inform much posthumanist theory today.＜/p＞ ＜p＞＜em＞Universes without Us＜/em＞ explores a lesser-known countertradition in American literature. As Matthew A. Taylor’s incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither “other” nor “mirror.” Instead, humans are enmeshed with “alien” processes that are both constitutive and destructive of “us.” By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it.＜/p＞ ＜p＞＜em＞Universes without Us＜/em＞ demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A cultural history of modern lifestyle viewed through film and multimedia experiments of midcentury designers Charles and Ray Eames＜/strong＞＜/p＞ ＜p＞For the designers Charles and Ray Eames, happiness was both a technical and ideological problem central to the future of liberal democracy. Being happy demanded new things but also a vanguard life in media that the Eameses modeled as they brought film into their design practice. Midcentury modernism is often considered institutionalized, but ＜em＞Happiness by Design＜/em＞ casts Eames-era designers as innovative media artists, technophilic humanists, change managers, and neglected film theorists.＜/p＞ ＜p＞＜em＞Happiness by Design＜/em＞ offers a fresh cultural history of midcentury modernism through the film and multimedia experiments of Charles and Ray Eames and their peersーWill Burtin, L?szl? Moholy-Nagy, and Gy?rgy Kepes, among othersーat a moment when designers enjoyed a new cultural prestige. Justus Nieland traces how, as representatives of the American Century’s exuberant material culture, Cold War designers engaged in creative activities that spanned disciplines and blended art and technoscience while reckoning with the environmental reach of media at the dawn of the information age.＜/p＞ ＜p＞Eames-era modernism, Nieland shows, fueled novel techniques of culture administration, spawning new partnerships between cultural and educational institutions, corporations, and the state. From the studio, showroom floor, or classroom to the stages of world fairs and international conferences, the midcentury multimedia experiments of Charles and Ray Eames and their circle became key to a liberal democratic lifestyleーand also anticipated the look and feel of our networked present.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Toward an Architecture of Enjoyment＜/em＞ is the first publication in any language of the only book devoted to architecture by Henri Lefebvre. Written in 1973 but only recently discovered in a private archive, this work extends Lefebvre’s influential theory of urban space to the question of architecture. Taking the practices and perspective of habitation as his starting place, Lefebvre redefines architecture as a mode of imagination rather than a specialized process or a collection of monuments. He calls for an architecture of jouissanceーof pleasure or enjoymentーcentered on the body and its rhythms and based on the possibilities of the senses.＜/p＞ ＜p＞Examining architectural examples from the Renaissance to the postwar period, Lefebvre investigates the bodily pleasures of moving in and around buildings and monuments, urban spaces, and gardens and landscapes. He argues that areas dedicated to enjoyment, sensuality, and desire are important sites for a society passing beyond industrial modernization.＜/p＞ ＜p＞Lefebvre’s theories on space and urbanization fundamentally reshaped the way we understand cities. ＜em＞Toward an Architecture of Enjoyment＜/em＞ promises a similar impact on how we think about, and live within, architecture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In ＜em＞Out of Time＜/em＞, Todd McGowan takes as his starting point the emergence of a temporal aesthetic in cinema that arose in response to the digital era. Linking developments in cinema to current debates within philosophy, McGowan claims that films that change the viewer’s relation to time constitute a new cinematic mode: atemporal cinema.＜/p＞ ＜p＞In atemporal cinema, formal distortions of time introduce spectators to an alternative way of experiencing existence in timeーor, more exactly, a way of experiencing existence out of time. McGowan draws on contemporary psychoanalysis, particularly Jacques Lacan, to argue that atemporal cinema unfolds according to the logic of the psychoanalytic notion of the drive rather than that of desire, which has conventionally been the guiding concept of psychoanalytic film studies.＜/p＞ ＜p＞Despite their thematic diversity, these films distort chronological time with a shared motivation: to reveal the logic of repetition. Like psychoanalysis, McGowan contends, the atemporal mode locates enjoyment in the embrace of repetition rather than in the search for the new and different.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞From the signing of the Treaty of Waitangi between Indigenous and settler cultures to the emergence of the first-ever state-funded M?ori television network, New Zealand has been a hotbed of Indigenous concerns. Given its history of colonization, coping with biculturalism is central to New Zealand life. Much of this “bicultural drama” plays out in the media and is molded by an anxiety surrounding the ongoing struggle over citizenship rights that is seated within the politics of recognition. ＜em＞The Fourth Eye＜/em＞ brings together Indigenous and non-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and M?ori culture.＜/p＞ ＜p＞Examining the Indigenous mediascape, ＜em＞The Fourth Eye＜/em＞ shows how M?ori filmmakers, actors, and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people. From nineteenth-century M?ori-language newspapers to contemporary M?ori film and television, the contributors explore a variety of media forms including magazine cover stories, print advertisements, commercial images, and current M?ori-language newspapers to illustrate the construction, expression, and production of indigeneity through media.＜/p＞ ＜p＞Focusing on New Zealand as a case study, the authors address the broader question: what is Indigenous media? While engaging with distinct themes such as the misrepresentation of M?ori people in the media, access of Indigenous communities to media technologies, and the use of media for activism, the essays in this much-needed new collection articulate an Indigenous media landscape that converses with issues that reach far beyond New Zealand.＜/p＞ ＜p＞Contributors: Sue Abel, U of Auckland; Joost de Bruin, Victoria U of Wellington; Suzanne Duncan, U of Otago; Kevin Fisher, U of Otago; Allen Meek, Massey U; Lachy Paterson, U of Otago; Chris Prentice, U of Otago; Jay Scherer, U of Alberta; Jo Smith, Victoria U of Wellington; April Strickland; Stephen Turner, U of Auckland.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How the creative use of pop music in filmーthink ＜em＞Saturday Night Fever＜/em＞ or ＜em＞Apocalypse Now＜/em＞ーhas shaped and shifted music history since the 1960s＜/strong＞＜/p＞ ＜p＞Quick: What movie do you think of when you hear “The Sounds of Silence”? Better yet, what song comes to mind when you think of ＜em＞The Graduate＜/em＞? The link between film and song endures as more than a memory, Nate Patrin suggests with this wide-ranging and energetic book. It is, in fact, a sort of cultural symbiosis that has mutually influenced movies and pop music, a phenomenon Patrin tracks through the past fifty years, revealing the power of music in movies to move the needle in popular culture.＜/p＞ ＜p＞Rock ’n’ roll, reggae, R&B, jazz, techno, and hip-hop: each had its momentーor manyーas music deployed in movies emerged as a form of interpretive commentary, making way for the legitimization of pop and rock music as art forms worthy of serious consideration. These commentaries run the gamut from comedic irony to cheap-thrills excitement to deeply felt drama, all of which Patrin examines in pairings such as ＜em＞American Graffiti＜/em＞ and “Do You Want to Dance?”; ＜em＞Saturday Night Fever＜/em＞ and “Disco Inferno”; ＜em＞Apocalypse Now＜/em＞ and “The End”; ＜em＞Wayne’s World＜/em＞ and “Bohemian Rhapsody”; and ＜em＞Jackie Brown＜/em＞ and “Didn't I Blow Your Mind This Time?”.＜/p＞ ＜p＞What gives power to these individual moments, and how have they shaped and shifted music history, recasting source material or even stirring wider interest in previously niche pop genres? As Patrin surveys the sceneーmusical and cinematicーacross the decades, expanding into the deeper origins, wider connections, and echoed histories that come into play, ＜em＞The Needle and the Lens＜/em＞ offers a new way of seeing, and hearing, these iconic soundtrack moments.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Zombies first shuffled across movie screens in 1932 in the low-budget Hollywood film ＜em＞White Zombie＜/em＞ and were reimagined as undead flesh-eaters in George A. Romero’s ＜em＞The Night of the Living Dead＜/em＞ almost four decades later. Today, zombies are omnipresent in global popular culture, from video games and top-rated cable shows in the United States to comic books and other visual art forms to low-budget films from Cuba and the Philippines. The zombie’s ability to embody a variety of cultural anxietiesーecological disaster, social and economic collapse, political extremismーhas ensured its continued relevance and legibility, and has precipitated an unprecedented deluge of international scholarship.＜/p＞ ＜p＞Zombie studies manifested across academic disciplines in the humanities but also beyond, spreading into sociology, economics, computer science, mathematics, and even epidemiology. ＜em＞Zombie Theory＜/em＞ collects the best interdisciplinary zombie scholarship from around the world. Essays portray the zombie not as a singular cultural figure or myth but show how the undead represent larger issues: the belief in an afterlife, fears of contagion and technology, the effect of capitalism and commodification, racial exclusion and oppression, dehumanization. As presented here, zombies are not simple metaphors; rather, they emerge as a critical mode for theoretical work. With its diverse disciplinary and methodological approaches, ＜em＞Zombie Theory＜/em＞ thinks through what the walking undead reveal about our relationships to the world and to each other.＜/p＞ ＜p＞Contributors: Fred Botting, Kingston U; Samuel Byrnand, U of Canberra; Gerry Canavan, Marquette U; Jeffrey Jerome Cohen, George Washington U; Jean Comaroff, Harvard U; John Comaroff, Harvard U; Edward P. Comentale, Indiana U; Anna Mae Duane, U of Connecticut; Karen Embry, Portland Community College; Barry Keith Grant, Brock U; Edward Green, Roosevelt U; Lars Bang Larsen; Travis Linnemann, Eastern Kentucky U; Elizabeth McAlister, Wesleyan U; Shaka McGlotten, Purchase College-SUNY; David McNally, York U; Tayla Nyong’o, Yale U; Simon Orpana, U of Alberta; Steven Shaviro, Wayne State U; Ola Sigurdson, U of Gothenburg; Jon Stratton, U of South Australia; Eugene Thacker, The New School; Sherryl Vint, U of California Riverside; Priscilla Wald, Duke U; Tyler Wall, Eastern Kentucky U; Jen Webb, U of Canberra; Jeffrey Andrew Weinstock, Central Michigan U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Rap’s critique of police brutality in the 1980s. The Hip Hop Political Convention. The rise (and fall) of Kwame Kilpatrick, the “hip-hop mayor” of Detroit. Barack Obama echoing the body language of Jay-Z on the campaign trail.＜/p＞ ＜p＞A growing number of black activists and artists claim that rap and hip-hop are the basis of an influential new urban social movement. Simultaneously, black citizens evince concern with the effect that rap and hip-hop culture exerts on African American communities. According to a recent Pew survey conducted on the opinions of Black Americans, 71 percent of blacks think that rap is a bad influence. To what extent are African American hopes and fears about hip-hop’s potential political power justified? In ＜em＞Stare in the Darkness＜/em＞, Lester K. Spence answers this question using a blend of neoliberal analysis, survey data, experiments, and case studies.＜/p＞ ＜p＞Spence finds that rap does in fact influence black political attitudes. However, rap also reproduces rather than critiques neoliberal ideology. Furthermore, black activists seeking to create an innovative model of hip-hop politics are hamstrung by their reliance on outmoded forms of organizing. By considering the possibilities inherent in the most prolific and prominent activities of hip-hop politics, Stare in the Darkness reveals, in a clear and practical manner, the political consequences of rap culture for black publics.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A comprehensive look into how Macau’s recent decades of gambling-related growth produced one of the wealthiest territories on the planet＜/strong＞＜/p＞ ＜p＞＜em＞Betting on Macau＜/em＞ delves into the radical transformation of what was formerly the last remaining European territory in Asia, returned to the People’s Republic of China in 1999 after nearly half a millennium of Portuguese rule. Examining the unprecedented scale of its development and its key role in China’s economic revolution, Tim Simpson follows Macau’s emergence from historical obscurity to become the most profitable casino gaming locale in the world.＜/p＞ ＜p＞Identified as a UNESCO World Heritage Site and renowned for its unique blend of Chinese and Portuguese colonial-era architecture, contemporary Macau has metamorphosed into a surreal, hypermodern urban landscape augmented by massive casino megaresorts, including two of the world’s largest buildings. Simpson situates Macau’s origins as a strategic trading port and its ensuing history alongside the emergence of the global capitalist system, charting the massive influx of foreign investment, construction, and tourism in the past two decades that helped generate the territory’s enormous wealth.＜/p＞ ＜p＞Presented through a cross section of postcolonial studies and social theory with extensive insight into the global gambling industry, ＜em＞Betting on Macau＜/em＞ uncovers the various roots of the territory’s lucrative casino capitalism. In turn, its trenchant analysis provides a distinctive view into China’s broader project of urbanization, its post-Mao economic reforms, and the continued rise of its consumer culture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A comprehensive look into how Macau’s recent decades of gambling-related growth produced one of the wealthiest territories on the planet＜/strong＞＜/p＞ ＜p＞＜em＞Betting on Macau＜/em＞ delves into the radical transformation of what was formerly the last remaining European territory in Asia, returned to the People’s Republic of China in 1999 after nearly half a millennium of Portuguese rule. Examining the unprecedented scale of its development and its key role in China’s economic revolution, Tim Simpson follows Macau’s emergence from historical obscurity to become the most profitable casino gaming locale in the world.＜/p＞ ＜p＞Identified as a UNESCO World Heritage Site and renowned for its unique blend of Chinese and Portuguese colonial-era architecture, contemporary Macau has metamorphosed into a surreal, hypermodern urban landscape augmented by massive casino megaresorts, including two of the world’s largest buildings. Simpson situates Macau’s origins as a strategic trading port and its ensuing history alongside the emergence of the global capitalist system, charting the massive influx of foreign investment, construction, and tourism in the past two decades that helped generate the territory’s enormous wealth.＜/p＞ ＜p＞Presented through a cross section of postcolonial studies and social theory with extensive insight into the global gambling industry, ＜em＞Betting on Macau＜/em＞ uncovers the various roots of the territory’s lucrative casino capitalism. In turn, its trenchant analysis provides a distinctive view into China’s broader project of urbanization, its post-Mao economic reforms, and the continued rise of its consumer culture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。