How does Martin Luther King, Jr., understand race philosophically and how did this understanding lead him to develop an ontological conception of racist police violence? In this important new work, Mark Christian Thompson attempts to answer these questions, examining ontology in Martin Luther King, Jr.'s philosophy. Specifically, the book reads King through 1920s German academic debates between Martin Heidegger, Rudolf Bultmann, Hans Jonas, Carl Schmitt, Eric Voegelin, Hannah Arendt, and others on Being, gnosticism, existentialism, political theology, and sovereignty. It further examines King's dissertation about Tillich, as well other key texts from his speculative writings, sermons, and speeches, positing King's understanding of divine love as a form of Heideggerian ontology articulated in beloved community. Tracking the presence of twentieth-century German philosophy and theology in his thought, the book situates King's ontology conceptually and socially in nonviolent protest. In so doing, The Critique of Nonviolence reads King's "Letter from a Birmingham Jail" (1963) with Walter Benjamin's "Critique of Violence" (1921) to reveal the depth of King's political-theological critique of police violence as the illegitimate appropriation of the racialized state of exception. As Thompson argues, it is in part through its appropriation of German philosophy and theology that King's ontology condemns the perpetual American state of racial exception that permits unlimited police violence against Black lives.

Historically, photographs of Indigenous Australians were produced in unequal and exploitative circumstances. Today, however, such images represent a rich cultural heritage for descendants, who see them in distinctive and positive ways. Calling the shots brings together researchers who are using this rich archive to explore Aboriginal history, to identify relatives, and to reclaim culture. It reverses the colonial gaze to focus on the interactions between photographer and Indigenous people — and the living meanings the photos have today. The result is a fresh perspective on Australia’s past, and on present-day Indigenous identities. Innovative in three ways, Calling the shots incorporates Indigenous perspectives on the photographic process and especially the meaning of the photographic archive. It also explores the history of photography in each colony, thus providing a rich and varied series of historical social landscapes. Lastly, it examines the active role played by Indigenous people in photography as a process of encounter and exchange. Contributors include Julie Gough, Jane Lydon, Sari Braithwaite, Shauna Bostock-Smith, Lawrence Bamblett, Michael Aird, Karen Hughes and Aunty Ellen Trevorrow, Donna Oxenham, Laurie Baymarrwangga and Bentley James.

"This publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."

Reprint of the original, first published in 1874.

With President George W. Bush's approval ratings at record lows, the 2008 election was a contest that Democrats were predicted to win. And with Barack Obama's victory over John McCain, they did. But it was the highly unlikely journey to this likely destination that set this presidential election apart from others.

Contains laws which are that were passed by the Congress that concern Army operations or personnel and were issued as general orders.

In this provocative new book, Mark Christian Thompson addresses the startling fact that many African American intellectuals in the 1930s sympathized with fascism, seeing in its ideology a means of envisioning new modes of African American political resistance. Thompson surveys the work and thought of several authors and asserts that their sometimes positive reaction to generic European fascism, and its transformation into black fascism, is crucial to any understanding of Depression-era African American literary culture. The book considers the high regard that "Back to Africa" advocate Marcus Garvey expressed for fascist dictators and explores the common ground he shared with George Schuyler and Claude McKay, writers with whom Garvey is generally thought to be at odds. Thompson reveals how fascism informed a rejection of Marxism by McKay--as well as by Arna Bontemps, whose Drums at Dusk depicts communism as antithetical to any black revolution. A similarly authoritarian stance is examined in the work of Zora Neale Hurston, where the striving for a fascist sovereignty presents itself as highly critical of Nazism while nonetheless sharing many of its tenets. The book concludes with an investigation of Richard Wright's The Outsider and its murderous protagonist, Cross Damon, who articulates fascist drives already present, if latent, in Native Son's Bigger Thomas. Unencumbered by the historical or biblical references of the earlier work, Damon personifies the essence of black fascism. Taking on a subject generally ignored or denied in African American cultural and literary studies, Black Fascisms seeks not only to question the prominence of the Left in the political thought of a generation of writers but to change how we view African American literature in general. Encompassing political theory, cultural studies, critical theory, and historicism, the book will challenge readers in numerous fields, providing a new model for thinking about the political and transnational in African American culture and shedding new light on our understanding of fascism between the wars.

What is the future of curatorship? Is there a vision for an ideal model, a curatopia, whether in the form of a utopia or dystopia? Or is there a plurality of approaches, amounting to a curatorial heterotopia? This pioneering volume addresses these questions by considering the current state of curatorship. It reviews the different models and approaches operating in museums, galleries and cultural organisations around the world and discusses emerging concerns, challenges and opportunities. The collection explores the ways in which the mutual, asymmetrical relations underpinning global, scientific entanglements of the past can be transformed into more reciprocal, symmetrical forms of cross-cultural curatorship in the present, arguing that this is the most effective way for curatorial practice to remain meaningful. International in scope, the volume covers three regions: Europe, North America and the Pacific.

Does a photograph freeze a moment of time? What does it mean to treat a photographic image as an artefact? In the visual culture of the 21st century, do new digital and social forms change the status of photography as archival or objective – or are they revealing something more fundamental about photography’s longstanding relationships with time and knowledge?Archaeology and Photography imagines a new kind of Visual Archaeology that tackles these questions. The book reassesses the central place of Photography as an archaeological method, and re-wires our cross-disciplinary conceptions of time, objectivity and archives, from the History of Art to the History of Science.Through twelve new wide-ranging and challenging studies from an emerging generation of archaeological thinkers, Archaeology and Photography introduces new approaches to historical photographs in museums and to contemporaryphotographic practice in the field. The book re-frames the relationship between Photography and Archaeology, past and present, as more than a metaphor or an analogy – but a shared vision.Archaeology and Photography calls for a change in how we think about photography and time. It argues that new archaeological accounts of duration and presence can replace older conceptions of the photograph as a snapshot orremnant received in the present. The book challenges us to imagine Photography, like Archaeology, not as a representation of the past and the reception of traces in the present but as an ongoing transformation of objectivity and archive.Archaeology and Photography will prove indispensable to students, researchers and practitioners in History, Photography, Art, Archaeology, Anthropology, Science and Technology Studies and Museum and Heritage Studies.