Dead Pledges is the first book to explore the ways that U.S. culture—from novels and poems to photojournalism and horror movies—has responded to the collapse of the financialized consumer credit economy in 2008. Connecting debt theory to questions of cultural form, this book argues that artists, filmmakers, and writers have re-imagined what it means to owe and to own in a period when debt is what makes our economic lives possible. Encompassing both popular entertainment and avant-garde art, the post-crisis productions examined here help to map the landscape of contemporary debt: from foreclosure to credit scoring, student debt to securitized risk, microeconomic theory to anti-eviction activism. A searing critique of the ideology of debt, Dead Pledges dismantles the discourse of moral obligation so often invoked to make us repay. Debt is no longer a source of economic credibility, it contends, but a system of dispossession that threatens the basic fabric of social life.

Alexandra Robbins wanted to find out if the stereotypes about sorority girls were actually true, so she spent a year with a group of girls in a typical sorority. The sordid behavior of sorority girls exceeded her worst expectations -- drugs, psychological abuse, extreme promiscuity, racism, violence, and rampant eating disorders are just a few of the problems. But even more surprising was the fact that these abuses were inflicted and endured by intelligent, successful, and attractive women. Why is the desire to belong to a sorority so powerful that women are willing to engage in this type of behavior -- especially when the women involved are supposed to be considered 'sisters'? What definition of sisterhood do many women embrace? Pledged combines a sharp-eyed narrative with extensive reporting and the fly-on-the-wall voyeurism of reality shows to provide the answer.

Included are the Minutes (or Procès-verbal) of the Council from its first meeting, Paris, January 16, 1920, to the session, ; the budget for the 3d- financial period (1921- ) in 1920, no. 7, 1921, no. 9, 1923- no. 1 of each year; statements of the "Present situations as regards international engagements registered with the Secretariat"; Saar Basin, periodical and other reports and papers; reports on the financial reconstruction of Austria, and of Hungary; and many other reports and papers.

This Companion addresses the contemporary transformation of critical and cultural theory, with special emphasis on the way debates in the field have changed in recent decades. Features original essays from an international team of cultural theorists which offer fresh and compelling perspectives and sketch out exciting new areas of theoretical inquiry Thoughtfully organized into two sections – lineages and problematics – that facilitate its use both by students new to the field and advanced scholars and researchers Explains key schools and movements clearly and succinctly, situating them in relation to broader developments in culture, society, and politics Tackles issues that have shaped and energized the field since the Second World War, with discussion of familiar and under-theorized topics related to living and laboring, being and knowing, and agency and belonging

Globalization in the United States can seem paradoxical: free trade coincides with fortification of the southern border, while immigration is reimagined as a national-security threat. US politics turn aggressively against Latinx migrants and subjects even as post-NAFTA markets become thoroughly reliant on migrant and racialized workers. But in fact, there is no incongruity here. Rather, anti-immigrant politics reflect a strategy whereby capital uses specialized forms of violence to create a reserve army of the living, laboring dead. Visible Borders, Invisible Economies turns to Latinx literature, photography, and films that render this unseen scheme shockingly vivid. Works such as Valeria Luiselli’s Tell Me How It Ends and Alex Rivera’s Sleep Dealer crystallize the experience of Latinx subjects and migrants subjugated to social death, their political existence erased by disenfranchisement and racist violence while their bodies still toil in behalf of corporate profits. In Kristy L. Ulibarri’s telling, art clarifies what power obscures: the national-security state performs anti-immigrant and xenophobic politics that substitute cathartic nationalism for protections from the free market while ensuring maximal corporate profits through the manufacture of disposable migrant labor.

When does becoming part of the team go too far? For decades, young men and women endured degrading and dangerous rituals in order to join sororities and fraternities while college administrators blindly accepted their consequences. In recent years, these practices have spilled over into the mainstream, polluting military organizations, sports teams, and even secondary schools. In Destroying Young Lives: Hazing in Schools and the Military, Hank Nuwer assembles an extraordinary cast of analysts to catalog the evolution of this dangerous practice, from the first hazing death at Cornell University in 1863 to present day tragedies. This hard-hitting compilation addresses the numerous, significant, and often overlooked impacts of hazing, including including sexual exploitation, mental distress, depression, and even suicide. Destroying Young Lives is a compelling look at how universities, the military, and other social groups can learn from past mistakes and protect their members going forward.