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"An astonishing translation. Soucy's sophisticated rhythms carry the force, violence, and beauty of Ovid's immortal poem. Reading it, reading it out loud, I felt so palpably the vitality thrumming beneath the refinement of form."--Richie Hofmann, author of A Hundred Lovers "What a pleasure to read! For anyone who knows the original, Luke Soucy's swift translation of Ovid's Metamorphoses is full of ingenuity and resourcefulness; for newcomers, it is a superb introduction to the poem's pace and spirit."--Jeff Dolven, author of Senses of Style: Poetry before Interpretation

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In the late nineteenth and early twentieth centuries, working-class people across northern India found themselves negotiating rapid industrial change, emerging technologies, and class hierarchies. In response to these massive changes, Indian Muslim artisans began to publicly assert the deep relation between their religion and their labor, using the increasingly accessible popular press to redefine Islamic traditions "from below." Centering the stories and experiences of metalsmiths, stonemasons, tailors, press workers, and carpenters, Pious Labor tells the story of colonial-era social changes through the perspectives of the workers themselves. As Amanda Lanzillo shows, the colonial marginalization of these artisans is intimately linked with the continued exclusion of laboring voices today. By drawing on previously unstudied Urdu-language technical manuals and community histories, Lanzillo highlights not only the materiality of artisanal production but also the cultural agency of artisanal producers, filling in a major gap in South Asian history.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In a world increasingly shaped by displacement and migration, refuge is both a coveted right and an elusive promise for millions of people. While refuge is conventionally understood as legal protection, it also transcends narrow judicial definitions. In Lived Refuge, Vinh Nguyen reconceptualizes refuge as an ongoing affective experience and lived relation, rather than a fixed category whose legitimacy is derived from the state. Focusing on Southeast Asian diasporas that formed in the wake of the Vietnam War, Nguyen examines three affective experiences--gratitude, resentment, and resilience--to reveal the actively lived dimensions of refuge. Through multifaceted analyses of literary and cultural productions, Nguyen argues that the meaning of refuge emerges from how displaced people negotiate the kinds of "safety" and "protection" that are offered to (and withheld from) them. In doing so, he lays the framework for an original and compelling understanding of contemporary refugee subjectivity.

"In Becoming Global Asia, Cheryl Narumi Naruse offers a lucid, much-needed theorization of 'postcolonial capitalism'--a mode of sovereignty simultaneously forged against empire and productive of neoliberal governance. An important and original contribution to debates around Global Asia and its cultural forms, with ramifications far beyond Singapore."--Jini Kim Watson, Professor of English and Comparative Literature, New York University "After Becoming Global Asia, criticism about cultural geopolitics and literary studies that disregards Singapore, or does not center Naruse's cogent analysis on the aesthetics of postcolonial capitalism, will be incomplete. This book demystifies the workings of Asian hypervisibility and the changing configurations of capital and art."--Mohan Ambikaipaker, author of Political Blackness in Multiracial Britain "If you've ever wondered about the dark side of the idea of 'Global Asia, ' read this book. But if you are looking for evidence that literature can be more than a mere tool of the state and capital, this book is also for you."--Colleen Lye, author of America's Asia: Racial Form and American Literature, 1893-1945

"Jongwoo Jeremy Kim deftly examines queer (nonnormative) artists through new lenses, creating a narrative arc that interrelates the book's historically and formally eclectic range of off-center artists/subjects. Male Bodies Unmade fills gaps in the literature of the artists discussed and diversifies perspectives in the fields of both queer studies and art history."--Tirza True Latimer, author of Eccentric Modernisms: Making Differences in the History of American Art "Jongwoo Jeremy Kim--who in the early pages of this book styles himself as fierce critic, voyeur, and ventriloquist--provides keen insight into GWM (gay white male) aesthetics by interrogating the stakes of being-in-difference under visual and sexual hegemony. Witty and wise, Male Bodies Unmade is a gleaming example of queer critique's capacities to identify the points of pleasure and failure in our togethering."--Andy Campbell, author of Bound Together: Leather, Sex, Archives, and Contemporary Art "Jongwoo Jeremy Kim began to weave these thoughts into art history as part of a long, ongoing conversation with the bright mind of his teacher, friend, and ally, Linda Nochlin. Male Bodies Unmade now takes those threads into his own full scholarly investigation. The result of so much looking and being comes out from under the covers in the best of all possible ways."--Molly Nesbit, Professor of Art on the Mary Conover Mellon Chair, Vassar College "Male Bodies Unmade implicitly provides one way to decolonize art history and illustrates that Asian American art history can be written without exclusively focusing on Asian American author-subjects and their work."--Alpesh Patel, author of Productive Failure: Writing Queer Transnational South Asian Art Histories "In Male Bodies Unmade, Jongwoo Jeremy Kim helps us look anew at the art of queer artists whose work we thought we knew and understood. He's produced astute revisionist readings of Cocteau, Bacon, Hockney, and Gober, among others, and made their art vivid and relevant for our multicultural twenty-first century."--Kenneth E. Silver, Professor of Art History, New York University

"What Film Is Good For is a wonderfully ambitious and timely collection that takes the form, in a sense, of a questionnaire--one that importantly does not seek or need a singular response to the question it asks, as if film could only be good in one way or for one thing, or simply not at all. The diversity of responses collected here is itself a profound lesson in how capacious a moral claim need be if moral it truly is."--Brian Price, author of A Theory of Regret "Whether one agrees with the writers' propositions, the pleasure of thinking through the claims, pondering these questions of worth, value, profit, loss, the many 'good fors' as well as the occasional 'not good for, ' is a good, indeed, an excellence in itself, opening to a vast and valuable conversation."--Janet Staiger, author of Interpreting Films: Studies in the Historical Reception of American Cinema and Perverse Spectators: The Practices of Film Reception "Their volume bookended by two marvelous pieces by filmmakers (Mike Figgis and Radu Jude), Julian Hanich and Martin Rossouw have assembled a peerless group of contributors to explore a wide range of compelling questions about film ethics and the value(s) of spectatorship. The result is a foundational volume for Screen Studies."--Catherine Grant, founding author of Film Studies for Free

"Those for Whom the Lamp Shines is an outstanding and important contribution. It is the first sustained account of ethnic rhetoric as it rises in prevalence in late antique Egypt. With admirable sensitivity to the complexities of group conflict, Bantu lucidly charts the significant changes in ethnic reasoning about 'Egyptianness' in late antiquity."--Mary K. Farag, author of What Makes a Church Sacred? Legal and Ritual Perspectives from Late Antiquity

"What Film Is Good For is a wonderfully ambitious and timely collection that takes the form, in a sense, of a questionnaire--one that importantly does not seek or need a singular response to the question it asks, as if film could only be good in one way or for one thing, or simply not at all. The diversity of responses collected here is itself a profound lesson in how capacious a moral claim need be if moral it truly is."--Brian Price, author of A Theory of Regret "Whether one agrees with the writers' propositions, the pleasure of thinking through the claims, pondering these questions of worth, value, profit, loss, the many 'good fors' as well as the occasional 'not good for, ' is a good, indeed, an excellence in itself, opening to a vast and valuable conversation."--Janet Staiger, author of Interpreting Films: Studies in the Historical Reception of American Cinema and Perverse Spectators: The Practices of Film Reception "Their volume bookended by two marvelous pieces by filmmakers (Mike Figgis and Radu Jude), Julian Hanich and Martin Rossouw have assembled a peerless group of contributors to explore a wide range of compelling questions about film ethics and the value(s) of spectatorship. The result is a foundational volume for Screen Studies."--Catherine Grant, founding author of Film Studies for Free

"If you're looking for a primer on how to do community-engaged research in environmental justice (EJ) communities, look no further. Chad Raphael and Martha Matsuoka (and their various coauthors) offer a comprehensive account of why EJ research must be rooted in community, as well as a step-by-step guide as to how to actually do that work and a vision of how to move the field to even more authenticity in the future. Offering a striking breadth of coverage of topics, studies, and methods, this invaluable contribution to the literature will be embraced by academics and practitioners alike."--Manuel Pastor, Jr., Distinguished Professor, Sociology and American Studies & Ethnicity; Turpanjian Chair in Civil Society and Social Change; Director, USC Equity Research Institute, University of Southern California "Want to know exactly how to flip the academic script and do community-centered environmental justice research? This book is that guide, and offers a powerful journey into how the pursuit of knowledge can empower true change! Ground Truths is patient and powerful, emphasizes relationships, and is written by a wonderful team of genuine environmental justice practitioners from all walks of life and work."--Kyle Whyte, George Willis Pack Professor, School for Environment and Sustainability, and Faculty Director, Tishman Center for Social Justice and the Environment, University of Michigan "Giving primacy to frontline communities most directly affected by contamination, Raphael and Matsuoka emphasize that building mutually beneficial partnerships for research yields rich and sophisticated practices and outcomes. This book will be especially useful for researchers who are embarking on a career in research and want to know how to approach working with communities to produce respectful and useful research."--Teresa Córdova, Professor of Urban Planning and Policy, University of Illinois at Chicago "Dismantling the academic monopoly on what is deemed legitimate knowledge is necessary to ensure that research is used for liberation, not reproduction of oppressive social orders. Raphael and Matsuoka's brilliant new book on community-engaged research provides a visionary yet practical guide for those who wish to use this transformative and collaborative approach for achieving environmental justice."--Jonathan London, Professor, Human and Community Development, University of California, Davis

"At long last, a top film scholar takes a deep dive into New Line Cinema's remarkable and most unlikely history, from an independent purveyor of midnight movies and slasher films after its founding in 1967 to the very top of the industry as a Warner subsidiary in the late 1990s and early 2000s. Mining a wealth of primary sources and trade press accounts, and with access to New Line's renegade founder and chief executive Bob Shaye himself, Daniel Herbert deftly recounts the company's rags-to-riches saga, culminating in the Lord of the Rings triumph before its equally spectacular flameout. In the process, Maverick Movies firmly situates New Line as one of the most important Hollywood studios in the past half-century."--Thomas Schatz, author of The Genius of the System: Hollywood Filmmaking in the Studio Era "Focusing on New Line Cinema, an indie outfit rooted in 1960s college-campus film culture that in the 1990s briefly became the tail that wagged the dog at the WB, Herbert crafts a comprehensive history of postclassical Hollywood, a compelling road map of the volatile movie industry from the late 1960s through the early 2000s."--Jon Lewis, author of Road Trip to Nowhere: Hollywood Encounters the Counterculture "Maverick Movies revitalizes the field of distribution studies. Exhibiting the same archival dexterity he brought to Videoland, Herbert reconsiders how New Line's eclecticism both predicted and reflected broader changes in US film culture of the late twentieth century. Maverick Movies will engage scholars across media industry studies, production studies, and new cinema history."--Caetlin Benson-Allott, author of The Stuff of Spectatorship: Material Cultures of Film and Television