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Rooting in a Useless Land - Chelsea Fisher - Bog - University of California Press - Plusbog.dk

Coed Revolution - Chelsea Szendi Schieder - Bog - Duke University Press - Plusbog.dk

Picturing the Woman-Child - Morna (chelsea College Of Arts Laing - Bog - Bloomsbury Publishing PLC - Plusbog.dk

Dark Sound - D Ferrett - Bog - Bloomsbury Publishing Plc - Plusbog.dk

National Security, Leaks and Freedom of the Press - - Bog - Oxford University Press Inc - Plusbog.dk

National Security, Leaks and Freedom of the Press - - Bog - Oxford University Press Inc - Plusbog.dk

Written by a group of the nation''s leading constitutional scholars, a deeply informed, thoughtful, and often surprising examination of who has First Amendment rights to disclose, to obtain, or to publish classified information relating to the national security of the United States.One of the most vexing and perennial questions facing any democracy is how to balance the government''s legitimate need to conduct its operations-especially those related to protecting the national security-in secret, with the public''s right and responsibility to know what its government is doing. There is no easy answer to this issue, and different nations embrace different solutions. In the United States, at the constitutional level, the answer begins exactly half a century ago with the Supreme Court''s landmark 1971 decision in the Pentagon Papers case. The final decision, though, left many important questions unresolved. Moreover, the issue of leaks and secrecy has cropped up repeatedly since, most recently in the Edward Snowden and Chelsea Manning cases. In National Security, Leaks and Freedom of the Press , two of America''s leading First Amendment scholars, Lee C. Bollinger and Geoffrey R. Stone, have gathered a group of the nation''s leading constitutional scholars-including John Brennan, Eric Holder, Cass R. Sunstein, and Michael Morell, among many others-to delve into important dimensions of the current system, to explain how we should think about them, and to offer as many solutions as possible.

DKK 1082.00
1

Boystown - Jason Orne - Bog - The University of Chicago Press - Plusbog.dk

Boystown - Jason Orne - Bog - The University of Chicago Press - Plusbog.dk

From neighborhoods as large as Chelsea or the Castro, to locales limited to a single club, like The Shamrock in Madison or Sidewinders in Albuquerque, gay areas are becoming normal. Straight people flood in. Gay people flee out. Scholars call this transformation assimilation and some argue that we gay and straight alike are becoming "post gay." Jason Orne argues that rather than post gay, America is becoming "post queer," losing the radical lessons of sex. In Boystown, Orne takes readers on a detailed, lively journey through Chicago's Boystown, which serves as a model for gayborhoods around the country. The neighborhood, he argues, has become an entertainment district a gay Disneyland where people get lost in the magic of the night and where straight white women can "go on safari." In their original form, though, gayborhoods like this one don't celebrate differences; they create them. By fostering a space outside the mainstream, gay spaces allow people to develop an alternative culture a queer culture that celebrates sex. Orne spent three years doing fieldwork in Boystown, searching for ways to ask new questions about the connective power of sex and about what it means to be not just gay, but queer. The result is the striking Boystown, illustrated throughout with street photography by Dylan Stuckey. In the dark backrooms of raunchy clubs where bachelorettes wouldn't dare tread, people are hooking up and forging "naked intimacy." Orne is your tour guide to the real Boystown, then, where sex functions as a vital center and an antidote to assimilation.

DKK 962.00
1

Insurgent Truth - Lida Maxwell - Bog - Oxford University Press Inc - Plusbog.dk

Insurgent Truth - Lida Maxwell - Bog - Oxford University Press Inc - Plusbog.dk

When Chelsea Manning was arrested in May 2010 for leaking massive amounts of classified Army and diplomatic documents to WikiLeaks, she was almost immediately profiled by the mainstream press as a troubled person: someone who had experienced harassment due to her sexual orientation and gender non-conformity, and who leaked documents not on behalf of the public good, but out of motives of personal revenge or, as suggested in the New York Times, "delusions of grandeur." Compared implicitly to Daniel Ellsberg''s apparently selfless devotion to the truth and the public good, Manning comes up short in these profiles--a failed whistleblower who deserves pity rather than political solidarity. The first book-length theoretical treatment of Manning''s actions, Insurgent Truth argues for seeing Manning''s example differently: as an act of what the book terms "outsider truth-telling." Bringing Manning''s truth-telling into conversation with democratic, feminist, and queer theory, the book argues that outsider truth-tellers such as Manning tell or enact unsettling truths from a position of social illegibility. Challenging the social alignment of credibility with gendered, classed, and raced traits, outsider truth-tellers reveal oppression and violence that the dominant class would otherwise not see, and disclose the possibility of a more egalitarian form of life. Read as outsider truth-telling, the book argues that Manning''s acts were not aimed at curbing corporate or governmental bad acts, but instead at transforming public discourse and agency, and inciting a solidaristic public. The book suggests that Manning''s actions offer a productive example of democratic truth-telling for all of us. Lida Maxwell develops this argument through an examination of Manning''s prison writings, the lengthy chat logs between Manning and the hacker who eventually turned her in, various journalistic, artistic, and academic responses to Manning, and by comparing Manning''s example and writings with the work and actions of other outsider truth-tellers, including Cassandra, Virginia Woolf, Bayard Rustin, and Audre Lorde. Showing the shortcomings of existing approaches to truth and politics, Maxwell advances a new theoretical framework through which to understand truth-telling in politics: not only as a practice of offering a pre-political common ground of "facts" to politics, but also as the practice of unsettling public discourse by revealing the oppression and domination that it often masks.

DKK 969.00
1

Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

Hip Hop on Film - Kimberley Monteyne - Bog - University Press of Mississippi - Plusbog.dk

A reclamation and interpretation of a once-dismissed aspect of American film historyEarly hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin'' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood''s fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn''s Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980s.Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation''s newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance. This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre''s influence.Kimberley Monteyne, Vancouver, British Columbia, Canada, is currently teaching at the University of British Columbia and has also taught at New York University and the Chelsea College of Art (UK). Her work has appeared in Youth Culture in Global Cinema.

DKK 858.00
1