An in-depth intellectual and historical analysis of Les Archives de la Planète, Albert Kahn's collection of early colour photography and documentary film. The book examines the extraordinary context of Kahn's work, considers archival theory and visual culture, and investigates the cosmopolitan strategies of Kahn and associates, e.g. Henri Bergson.

An in-depth intellectual and historical analysis of Les Archives de la Planète, Albert Kahn's collection of early colour photography and documentary film. The book examines the extraordinary context of Kahn's work, considers archival theory and visual culture, and investigates the cosmopolitanstrategies of Kahn and associates, e.g. Henri Bergson.

The concepts of biopolitics and necropolitics have increasingly gained scholarly attention, particularly in light of today’s urgent and troubling issues that mark some lives as more – or less – worthy than others, including the migration crisis, rise of populism on a global scale, homonationalist practices, and state-sanctioned targeting of gender, sexual, racial, and ethnic ‘others’. This book aims to nuance this conversation by emphasising feminist and queer investments and interventions and by adding the analytical lens of cosmopolitics to ongoing debates around life/living and death/dying in the current political climate. In this way, we move forward toward envisioning feminist and queer futures that rethink categories such as ‘human’ and ‘subjectivity’ based on classical modern premises. Informed by feminist/queer studies, postcolonial theory, cultural analysis, and critical posthumanism, Biopolitics, Necropolitics, Cosmopolitics engages with longstanding questions of biopolitics and necropolitics in an era of neoliberalism and late capitalism, but does so by urging for a more inclusive (and less violent) cosmopolitical framework. Taking account of these global dynamics that are shaped by asymmetrical power relations, this fruitful posthuman(ist) and post-/decolonial approach allows for visions of transformation of the matrix of in-/exclusion into feminist/queer futures that work towards planetary social justice. This book is a significant new contribution to feminist and queer philosophy and politics, and will be of interest to academics, researchers, and advanced students of gender studies, postcolonial studies, sociology, philosophy, politics, and law. The chapters in this book were originally published as a special issue of the Journal of Gender Studies.

Portrait photography increased in popularity during the modernist period and offered new ways of seeing and understanding the human face. This book examines how portrait photographs appeared as literary motifs in the works of three modernist writers with personal experience of the medium: Marcel Proust, Franz Kafka and Virginia Woolf. Combining perspectives from literary, visual and media studies, Marit Grotta discusses these writers' ambivalent views on portrait photographs and the uncertain status of technical images in the early twentieth century more generally. In reconsidering the attention paid to analogue photographs in literature, this book throws light on both modernist reactions to portrait photography and on our relationships to photographs today.

In 1795 Immanuel Kant proclaimed that humans had entered into a 'universal community'. Since then, connections have grown ever more pronounced, with the notion of 'cosmopolitics' defining the modern age. This interdisciplinary volume makes a timely contribution to debates on international law, global ecology and economy and transnational synergies.

One of Literary Hub's Most Anticipated Books of 2024 A brilliant, paradigm-shifting global history of how humanity has reshaped the planet, and the planet has shaped human history, over the last 500 years. In this magisterial book, historian Sunil Amrith twins the stories of environment and Empire, of genocide and eco-cide, of an extraordinary expansion of human freedom and its planetary costs. Drawing on an extraordinarily rich diversity of primary sources, he reckons with the ruins of Portuguese silver mining in Peru, British gold mining in South Africa, and oil extraction in Central Asia. He explores the railroads and highways that brought humans to new terrains of battle against each other and against stubborn nature. Amrith’s account of the ways in which the First and Second World Wars involved the massive mobilization not only of men, but of other natural resources from around the globe, provides an essential new way of understanding war as an irreversible reshaping of the planet. So too does this book reveal the reality of migration as consequence of environmental harm. The imperial, globe-spanning pursuit of profit, joined with new forms of energy and new possibilities of freedom from hunger and discomfort, freedom to move and explore, has brought change to every inch of the Earth. Amrith relates in gorgeous prose, and on the largest canvas, a mind-altering epic—vibrant with stories, characters, and vivid images—in which humanity might find the collective wisdom to save itself.

Maroon Cosmopolitics: Personhood, Creativity and Incorporation sheds further light on the contemporary modes of Maroon circulation and presence in Suriname and in the French Guiana. The contributors assembled in the volume look to describe Maroon ways of inhabiting, transforming and circulating through different localities in the Guianas, as well as their modes of creating and incorporating knowledge and artefacts into their social relations and spaces. By bringing together authors with diverse perspectives on the situation of the Guianese Maroon at the twenty-first century, the volume contributes to the anthropological literature on Maroon societies, providing ethnographic, and historical depth and legitimacy to the contemporary lives of the descendants of those who fled from slavery in the Americas.

Cosmopolitics and Biopolitics seeks to trace cosmopolitical aesthetics understood not only as the union of art, science, and the right to survive, but also as the prism through which artistic practices are developed around questions connected to transculturality, migration, nomadism, post-gender subjectivities, social and natural sustainability, and new digital technologies. This book’s authors fashion a narrative that moves in the territory of “inbetweenness”, between hospitality and hostility, between welcoming and conflict, between languages and intermediate languages, science, and survival in a world that is “common” more than global.

This ground-breaking study of cross-cultural theatre in the Australasian region focuses on theatrical events and practices in avant-garde and mainstream contexts. It explores the cultural and political dimensions of Australia's engagement with Asia and sheds light on international arts marketing and trends in cross-cultural performance training.

It is a sign of the accepted evidentiary status of photographs that historians regularly append them to their accounts, Amos Morris-Reich observes. Very often, however, these photographs are treated as mere illustrations, simple documentations of the events that transpired. Scholars of photography, on the other hand, tend to prioritize the photographs themselves, relegating the historical contexts to the background. For Morris-Reich, however, photography exists within reality; it partakes in and is very much a component of the history it records. Morris-Reich examines how photography affects categories of history and experience, how it is influenced by them, and the ways in which our understanding of the relationship between history and photography can be theorized and reoriented. Morris-Reich here turns to five twentieth-century cases in which photography and Jewish history intersect: Albert Kahn’s utopian attempt to establish a photographic archive in Paris in order to advance world peace; the spectacular failed project of Helmar Lerski, the most prominent photographer in British Mandate Jewish Palestine; photography in the long career of Eugen Fischer, a Nazi professor of genetics; the street photography of Robert Frank; and the first attempt to introduce photography into the study of Russian Jewry prior to World War I, as seen from the post-Holocaust perspective of the early twenty-first century. Illustrated with nearly 100 images, Photography and Jewish History moves beyond a focus on Jewish photographers or the photographic representation of Jews or Jewish visibility to plumb the deeper and more significant registers of twentieth-century Jewish political history.