Transformational festivals, from Burning Man to Lightning in a Bottle, Bhakti Fest, and Wanderlust, are massive events that attract thousands of participants to sites around the world. In this groundbreaking book, Amanda J. Lucia shows how these festivals operate as religious institutions for “spiritual, but not religious” (SBNR) communities. Whereas previous research into SBNR practices and New Age religion has not addressed the predominantly white makeup of these communities, White Utopias examines the complicated, often contradictory relationships with race at these events, presenting an engrossing ethnography of SBNR practices. Lucia contends that participants create temporary utopias through their shared commitments to spiritual growth and human connection. But they also participate in religious exoticism by adopting Indigenous and Indic spiritualities, a practice that ultimately renders them exclusive, white utopias. Focusing on yoga’s role in disseminating SBNR values, Lucia offers new ways of comprehending transformational festivals as significant cultural phenomena.

In Black Utopias Jayna Brown takes up the concept of utopia as a way of exploring alternative states of being, doing, and imagining in Black culture. Musical, literary, and mystic practices become utopian enclaves in which Black people engage in modes of creative worldmaking. Brown explores the lives and work of Black women mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and the work of speculative fiction writers Samuel Delany and Octavia Butler as they decenter and destabilize the human, radically refusing liberal humanist ideas of subjectivity and species. Brown demonstrates that engaging in utopian practices Black subjects imagine and manifest new genres of existence and forms of collectivity. For Brown, utopia consists of those moments in the here and now when those excluded from the category human jump into other onto-epistemological realms. Black people—untethered from the hope of rights, recognition, or redress—celebrate themselves as elements in a cosmic effluvium.

Transformational festivals, from Burning Man to Lightning in a Bottle, Bhakti Fest, and Wanderlust, are massive events that attract thousands of participants to sites around the world. In this groundbreaking book, Amanda J. Lucia shows how these festivals operate as religious institutions for “spiritual, but not religious” (SBNR) communities. Whereas previous research into SBNR practices and New Age religion has not addressed the predominantly white makeup of these communities, White Utopias examines the complicated, often contradictory relationships with race at these events, presenting an engrossing ethnography of SBNR practices. Lucia contends that participants create temporary utopias through their shared commitments to spiritual growth and human connection. But they also participate in religious exoticism by adopting Indigenous and Indic spiritualities, a practice that ultimately renders them exclusive, white utopias. Focusing on yoga’s role in disseminating SBNR values, Lucia offers new ways of comprehending transformational festivals as significant cultural phenomena.

Utopias come in every conceivable cultural and sexual shade: communist, fascist, anarchist, green, techno-fantastic, all male, all female. John Carey's anthology encompasses many noble schemes, as well as chilling attempts at social control.

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The proceedings of a symposium commemorating the 450th anniversary of Thomas More's death and the 50th anniversary of his canonization, Interpreting Thomas More's Utopia presents four leading Morean scholars on various aspects central to understanding More's masterpiece. An introduction by Governor Mario M. Cuomo in which he assesses More's influence on his career in public life precedes this stimulating discussion. The contributions, in order of appearance, are "A Personal Appreciation" by Mario M. Cuomo, "The Argument of Utopia" by George M. Logan, "The Key to Nowhere: Pride and Utopia" by Thomas I. White, "Utopia and Martyrdom" by Germain Marc'hadour, and "The Idea of Utopia from Hesiod to John Paul II" by John C. Olin.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Why did the twentieth century witness unprecedented organized genocide? Can we learn why genocide is perpetrated by comparing different cases of genocide? Is the Holocaust unique, or does it share causes and features with other cases of state-sponsored mass murder? Can genocide be prevented? Blending gripping narrative with trenchant analysis, Eric Weitz investigates four of the twentieth century's major eruptions of genocide: the Soviet Union under Stalin, Nazi Germany, Cambodia under the Khmer Rouge, and the former Yugoslavia. Drawing on historical sources as well as trial records, memoirs, novels, and poems, Weitz explains the prevalence of genocide in the twentieth century--and shows how and why it became so systematic and deadly. Weitz depicts the searing brutality of each genocide and traces its origins back to those most powerful categories of the modern world: race and nation. He demonstrates how, in each of the cases, a strong state pursuing utopia promoted a particular mix of extreme national and racial ideologies. In moments of intense crisis, these states targeted certain national and racial groups, believing that only the annihilation of these "enemies" would enable the dominant group to flourish. And in each instance, large segments of the population were enticed to join in the often ritualistic actions that destroyed their neighbors. This book offers some of the most absorbing accounts ever written of the population purges forever associated with the names Stalin, Hitler, Pol Pot, and Milosevic. A controversial and richly textured comparison of these four modern cases, it identifies the social and political forces that produce genocide.

I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation--which is also a narrative, an analysis, a rhapsody, and a manifesto--concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled "Karl Marx, Death and the Apocalypse." I am. We are. That's hardly anything. But enough to start.

Within the history of African American struggle against racist oppression that often verges on dystopia, a hidden tradition has depicted a transfigured world. Daring to speculate on a future beyond white supremacy, black utopian artists and thinkers offer powerful visions of ways of being that are built on radical concepts of justice and freedom. They imagine a new black citizen who would inhabit a world that soars above all existing notions of the possible. In Black Utopia, Alex Zamalin offers a groundbreaking examination of African American visions of social transformation and their counterutopian counterparts. Considering figures associated with racial separatism, postracialism, anticolonialism, Pan-Africanism, and Afrofuturism, he argues that the black utopian tradition continues to challenge American political thought and culture. Black Utopia spans black nationalist visions of an ideal Africa, the fiction of W. E. B. Du Bois, and Sun Ra’s cosmic mythology of alien abduction. Zamalin casts Samuel R. Delany and Octavia E. Butler as political theorists and reflects on the antiutopian challenges of George S. Schuyler and Richard Wright. Their thought proves that utopianism, rather than being politically immature or dangerous, can invigorate political imagination. Both an inspiring intellectual history and a critique of present power relations, this book suggests that, with democracy under siege across the globe, the black utopian tradition may be our best hope for combating injustice.