In The Sound of Exclusion, Christopher Chávez critically examines National Public Radio's professional norms and practices that situate white listeners at the center while relegating Latinx listeners to the periphery. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.

As a network that claims to represent the nation, NPR asserts unique claims about what it means to be American. In The Sound of Exclusion, Christopher Chávez critically examines how National Public Radio conceptualizes the Latinx listener, arguing that NPR employs a number of industry practices that secure its position as a white public space while relegating Latinx listeners to the periphery. These practices are tied to a larger cultural logic. Latinx identity is differentiated from national identity, which can be heard through NPR’s cultivation of an idealized dialect, situating whiteness at its center. Pushing Latinx listeners to the edges of public radio has crucial implications for Latinx participation in civic discourses, as identifying who to include in the “public” audience necessarily involves a process of exclusion. Chávez analyzes NPR as a historical product that has evolved alongside significant changes in technology, industry practice, and demography. In The Sound of Exclusion, Chávez asks these pressing questions: What kind of news organization was NPR intended to be? What has it become over time? In what ways is it evolving to meet the needs of a nation, in which U.S. Latinxs are becoming an increasingly larger portion of the American public that NPR serves? Informed by more than fifty in-depth interviews conducted with public radio practitioners from all aspects of the business, Chávez addresses how power is enacted in everyday broadcast practices. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.

The first practical handbook that helps individuals and organizations recognize and prevent microaggressions so that all employees can feel a sense of belonging. Our workplaces and society are growing more diverse, but are we supporting inclusive cultures? While overt racism, sexism, ableism, and other forms of discrimination are relatively easy to spot, we cannot neglect the subtler everyday actions that normalize exclusion. Many have heard the term microaggression, but not everyone fully understands what they are or how to recognize them and stop them from happening. Tiffany Jana and Michael Baran offer a clearer, more accessible term, subtle acts of exclusion, or SAEs, to emphasize the purpose and effects of these actions. After all, people generally aren't trying to be aggressive--usually they're trying to say something nice, learn more about a person, be funny, or build closeness. But whether in the form of exaggerated stereotypes, backhanded compliments, unfounded assumptions, or objectification, SAE are damaging to our coworkers, friends, and acquaintances. Jana and Baran give simple and clear tools to identify and address such acts, offering scripts and action plans for everybody involved. Knowing how to have these conversations in an open-minded, honest way will help us build trust and create stronger workplaces and healthier, happier people and communities.

Contradictory ideals of egalitarianism and self-reliance haunt America’s democratic state. We need look no further than Donald Trump’s 2016 presidential campaign and victory for proof that early twentieth-century anxieties about individualism, race, and the foreign or intrusive "other" persist today. In Stranger America, Josh Toth tracks and delineates these anxieties in America’s aesthetic production, finally locating a potential narrative strategy for circumnavigating them. Toth’s central focus is, simply, strangeness—or those characters who adamantly resist being fixed in any given category of identity. As with the theorists employed (Nancy, i ek, Derrida, Freud, Hegel), the subjects and literature considered are as encompassing as possible: from the work of Herman Melville, William Faulkner, James Weldon Johnson, and Nella Larsen to that of Philip K. Dick, Woody Allen, Larry David, and Bob Dylan; from the rise of nativism in the early twentieth century to object-oriented ontology and the twenty-first-century zombie craze; from ragtime and the introduction of sound in American cinema to the exhaustion of postmodern metafiction. Toth argues that American literature, music, film, and television can show us the path toward a new ethic, one in which we organize identity around the stranger rather than resorting to tactics of pure exclusion or inclusion. Ultimately, he provides a new narrative approach to otherness that seeks to realize a truly democratic form of community.

This book develops a philosophical framework for understanding a scientific principle's validation, for philosophers, historians and physicists.

Life at the end of the twentieth century presents us with a disturbing reality. Otherness, the simple fact of being different in some way, has come to be defined as in and of itself evil. Miroslav Volf contends that if the healing word of the gospel is to be heard today, Christian theology must find ways of speaking that address the hatred of the other. Reaching back to the New Testament metaphor of salvation as reconciliation, Volf proposes the idea of embrace as a theological response to the problem of exclusion. Increasingly we see that exclusion has become the primary sin, skewing our perceptions of reality and causing us to react out of fear and anger to all those who are not within our (ever-narrowing) circle. In light of this, Christians must learn that salvation comes, not only as we are reconciled to God, and not only as we "learn to live with one another", but as we take the dangerous and costly step of opening ourselves to the other, of enfolding him or her in the same embrace with which we have been enfolded by God.

Looking like a Language, Sounding like a Race examines the emergence of linguistic and ethnoracial categories in the context of Latinidad. The book draws from more than twenty-four months of ethnographic and sociolinguistic fieldwork in a Chicago public school, whose student body is more than 90% Mexican and Puerto Rican, to analyze the racialization of language and its relationship to issues of power and national identity. It focuses specifically on youth socialization to U.S. Latinidad as a contemporary site of political anxiety, raciolinguistic transformation, and urban inequity. Jonathan Rosa's account studies the fashioning of Latinidad in Chicago's highly segregated Near Northwest Side; he links public discourse concerning the rising prominence of U.S. Latinidad to the institutional management and experience of raciolinguistic identities there. Anxieties surrounding Latinx identities push administrators to transform "at risk" Mexican and Puerto Rican students into "young Latino professionals." This institutional effort, which requires students to learn to be and, importantly, sound like themselves in highly studied ways, reveals administrators' attempts to navigate a precarious urban terrain in a city grappling with some of the nation's highest youth homicide, dropout, and teen pregnancy rates. Rosa explores the ingenuity of his research participants' responses to these forms of marginalization through the contestation of political, ethnoracial, and linguistic borders.

Shortlisted, 2021 Memory Studies Association First Book Award The Fact of Resonance returns to the colonial and technological contexts in which theories of the novel developed, seeking in sound an alternative premise for theorizing modernist narrative form. Arguing that narrative theory has been founded on an exclusion of sound, the book poses a missing counterpart to modernism’s question “who speaks?” in the hidden acoustical questions “who hears?” and “who listens?” For Napolin, the experience of reading is undergirded by the sonic. The book captures and enhances literature’s ambient sounds, sounds that are clues to heterogeneous experiences secreted within the acoustical unconscious of texts. The book invents an oblique ear, a subtle and lyrical prose style attuned to picking up sounds no longer hearable. “Resonance” opens upon a new genealogy of modernism, tracking from Joseph Conrad to his interlocutors—Sigmund Freud, Frantz Fanon, W. E. B. Du Bois, William Faulkner, and Chantal Akerman—the racialized, gendered, and colonial implications of acoustical figures that “drift” through and are transformed by narrative worlds in writing, film, and music. A major synthesis of resources gleaned from across the theoretical humanities, the book argues for “resonance” as the traversal of acoustical figures across the spaces of colonial and technological modernity, figures registering and transmitting transformations of “voice” and “sound” across languages, culture, and modalities of hearing. We have not yet sufficiently attended to relays between sound, narrative, and the unconscious that are crucial to the ideological entailments and figural strategies of transnational, transatlantic, and transpacific modernism. The breadth of the book’s engagements will make it of interest not only to students and scholars of modernist fiction and sound studies, but to anyone interested in contemporary critical theory.

The Oxford Handbook of Social Exclusion offers the most comprehensive body of social exclusion research ever assembled, and addresses the fundamental questions on why people have a need to belong, why people exclude others, and how people respond to various forms of social exclusion.

Trumpets and Other High Brass is a series of books available in five volumes, illustrated with instruments from the Utley Collection at the National Music Museum and other major collections. Informed by the most current scholarship and new imaging technologies, it will comprise a comprehensive history of the trumpet and related instruments and a complete photographic catalog of the Utley Collection. Volume 1 traces the development of high brass instruments without valves or keys from antiquity through the 20th-century Baroque trumpet revival. It covers ethnic instruments from many cultures, the emergence of the trumpet in Europe and dominant designs of the 16th through 18th centuries. The inclusion of military and signal trumpets, bugles, and such oddities as bicycle bugles and walking-stick trumpets enhances an already rich survey. Available only in hardcover, Volume 1 includes 358 pages in an 8-1/2" x 11" format and features more than 800 illustrations in full color. The book is accompanied by a DVD with illustrative musical examples performed on instruments from the Utley Collection. - Publisher.