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"A bite-size guide to help you find abundance-now! How much is enough? No matter how much we have or what we achieve it seems like we can never have enough money, enough security, or enough wealth. Abundance Now unlocks the true secret of abundance -of not only having enough, but of being satisfied by it. The book from Jesse Sands contains simple steps that will shift both your actions and your mindset, setting you on a path to banish want from your life and replace it with wealth and contentment"--

In Abundance, Anjali Arondekar refuses the historical common sense that archival loss is foundational to a subaltern history of sexuality, and that the deficit of our minoritized pasts can be redeemed through acquisitions of lost pasts. Instead, Arondekar theorizes the radical abundance of sexuality through the archives of the Gomantak Maratha Samaj-a caste-oppressed devadasi collective in South Asia-that are plentiful and "idian, imaginative and ordinary. For Arondekar, abundance is inextricably linked to the histories of subordinated groups in ways that challenge narratives of their constant devaluation. Summoning abundance over loss upends settled genealogies of historical recuperation and representation and works against the imperative to fix sexuality within wider structures of vulnerability, damage, and precarity. Multigeneric and multilingual, transregional and historically supple, Abundance centers sexuality within area, post/colonial, and anti/caste histories

"Constitution and by-laws of the American Foundation for Abundance"--P. [94]-99. ; "April 1939"--T.p. verso. ; Cover title: Abundance for all : a program for plenty--progress--peace. ; Mode of access: Internet. ; In original paper covers.

Most principles of economics texts are predicated narrowly on the concept of scarcity as a fundamental force, but that is only one aspect of economics. This supplemental text for basic and intermediate level undergraduates provides a serious discussion of the concept of abundance - what it means, how we can move toward it, and what keeps us from doing so. The authors first outline the development of the concept of abundance and its meaning with discussions of the roles of population, resources, and the environment. Then they consider why abundance escapes us, focusing on the detrimental roles

"Anjali Arondekar's Abundance asks what would happen if we shift the structuring narrative of the history of sexuality from that of archival loss and a paucity of evidence to one of abundance-"we have all the evidence we need," as one of the author's archivists remarks. Arondekar employs this approach in an historical account of a group of former Goan Devadasi, an "Other Backward Castes" community. Arondekar starts with this sense of abundance and then raises a set of connected historiographical issues to show what histories might tell if we constructed them differently. Her focus on a subaltern group that moves back and forth between Portuguese and English domination in South Asia, opens to larger questions about histories of sexualities as parts of area, colonial, and decolonial histories"--

In this essay, the discussion proceeds from the public image of the functionary at the end of the Rákosi era, through the Kádárist policies of 'new sobriety' disciplining the functionary in order not to irritate and provoke the rest of society, to the new contrat sociale established by the mid-1960s in which the party-state apparatus class and the commoners join one another in pursuing shared (consumerist) ideas of good life and happiness, within the constraints and coping with the conditions of demand side abundance (the tension between consumerist aspirations, desires and an economy of sustained shortages). The article draws on archival sources as well as texts from contemporary cabarets and an analysis of the 1964 feature film, Don't Waste the Gas!, and its manuscript.

Rox De Luca is a visual artist based in Sydney, Australia. Her recent work focuses on the concepts of abundance, excess and waste. These concerns translate directly into vibrant and colourful garlands that she constructs from discarded plastics collected on Bondi Beach where she lives.The process of collecting is fastidious, as is the process of sorting and grading the plastics by colour and size. This initial gathering and sorting process is followed by threading the components onto strings of wire. When completed, these assemblages stand in stark contrast to the ease of disposability associated with the materials that arrive on the shoreline as evidence of our collective human neglect and destruction of the environment around us.The contrast is heightened by the fact that the constructed garlands embody the paradoxical beauty of our plastic waste byproducts, while also evoking the ways by which those byproducts similarly accumulate in randomly assorted patterns across the oceans and beaches of the planet.