Voicing Subjects traces the relation between public speech and notions of personal interiority in Kathmandu.Ê It explores two seemingly distinct formations of voice that have emerged in the midst of the countryÕs recent political and economic upheavals: a political voice associated with civic empowerment and collective agency, and an intimate voice associated with emotional proximity and authentic feeling.Ê Both are produced and circulated through the media, especially through interactive technologies. The author argues that these two formations of voice are mutually constitutive and aligned with modern ideologies of democracy and neoliberal economic projects.Ê This ethnography is set during an extraordinary period in NepalÕs history that has seen a relatively peaceful 1990 revolution that re-established democracy, a Maoist civil war, and the massacre of the royal family.Ê These dramatic changes have been accompanied by the proliferation of intimate and political discourse in the expanding public sphere, making the figure of voice ever more critical to an understanding of emerging subjectivity, structural change and cultural mediation.

Voicing Subjects traces the relation between public speech and notions of personal interiority in Kathmandu. It explores two seemingly distinct formations of voice that have emerged in the midst of the country’s recent political and economic upheavals: a political voice associated with civic empowerment and collective agency, and an intimate voice associated with emotional proximity and authentic feeling. Both are produced and circulated through the media, especially through interactive technologies. The author argues that these two formations of voice are mutually constitutive and aligned with modern ideologies of democracy and neoliberal economic projects. This ethnography is set during an extraordinary period in Nepal’s history that has seen a relatively peaceful 1990 revolution that re-established democracy, a Maoist civil war, and the massacre of the royal family. These dramatic changes have been accompanied by the proliferation of intimate and political discourse in the expanding public sphere, making the figure of voice ever more critical to an understanding of emerging subjectivity, structural change and cultural mediation.

Voicing America should find an appreciative audience, not only among those interested in the study of language in America, but also among early Americanists in general, literary critics and historians, and political scientists and philosophers interested in theories of nationalism.

"The book is a collection of essays looking at histories of crime and justice in Latin America, with a focus on social history and the interactions between state institutions, the press, and social groups. It argues that crime in Latin America is best understood from the "bottom up" -- not just as the exercise of power from the state. The book seeks to document and illustrate the "every day" experiences of crime in particular settings, emphasizing under-researched historical actors such as criminals, victims, and police officers"--Provided by publisher.

How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.

In so doing, Nesbitt points beyond the regionalism of Antillean exoticism to describe French Caribbean literature as a decisive intervention in the construction of a global modernity.New World Studies