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"This book, now in a 30th anniversary edition, has been called a founding text of agonism, which treats political contestation not as a regrettably necessary way to correct political imperfections but as a necessary, sometimes joyful feature of democratic life. By rethinking the established relation between politics and political theory, Honig argues that political theorists of opposing positions often treat political theory less as an exploration of politics than as a series of devices for its displacement"--

"Bonnie Honig invigorates debate over the politics of refusal by insisting that withdrawal from unjust political systems be matched with collective action to change them. Historical and fictional characters from Muhammad Ali to the Bacchants of ancient Greek tragedy teach us how to turn rejection into transformative efforts toward self-governance"--

A biting, funny, up-to-the-minute collection of essays by a major political thinker that gets to the heart of what feminist criticism can do in the face of everyday politics.Stormy Daniels offered a #metoo moment, and Anderson Cooper missed it. Conservatives don't believe that gender is fluid, except when they're feminizing James Comey. "Gaslighting" is our word for male domination but a gaslight also lights the way for a woman's survival.Across two dozen trenchant, witty reflections, Bonnie Honig offers a biting feminist account of politics since Trump. In today's shock politics, Honig traces the continuing work of patriarchy, as powerful, mediocre men gaslight their way across the landscape of democratic institutions.But amid the plundering and patriarchy, feminist criticism finds ways to demand justice. Shell-Shocked shows how women have talked back, acted out, and built anew, exposing the practices and policies of feminization that have historically been aimed not just at women but also at racial and ethnic minorities. The task of feminist criticism—and this is what makes it particularly well-suited to this moment—is to respond to shock politics by resensitizing us to its injustices and honing the empathy needed for living with others in the world as equals. Feminist criticism's penchant for the particular and the idiosyncratic is part of its power. It is drawn to the loose threads of psychological and collective life, not to the well-worn fabrics with which communities and nations hide their shortcomings and deflect critical scrutiny of their injustices. Taking literary models such as Homer's Penelope and Toni Morrison's Cee, Honig draws out the loose threads from the fabric of shock politics' domination and begins unraveling them. Honig's damning, funny, and razor sharp essays take on popular culture, national politics, and political theory alike as texts for resensitizing through a feminist lens. Here are insightful readings of film and television, from Gaslight to Bombshell, Unbelievable to Stranger Things, Rambo to the Kavanaugh hearings. In seeking out the details that might break the spell of shock, this groundbreaking book illustrates alternative ways of living and writing in a time of public violence, plunder, and—hopefully—democratic renewal

Frontmatter -- Contents -- Preface: Opting Out -- Introduction. Thinging Out Loud -- Lecture One: Democracy's Necessary Conditions -- Lecture Two: Care and Concern: Arendt with Winnicott -- Lecture Three: Hope and Play: Jonathan Lear's Radical Hope and Lars von Trier's Melancholia -- Epilogue: Public Things, Shared Space, and the Commons -- Acknowledgments -- Notes -- Bibliography -- Index

"Sophocles' Antigone is a touchstone in democratic, feminist and legal theory, and possibly the most commented upon play in the history of philosophy and political theory. Bonnie Honig's rereading of it therefore involves intervening in a host of literatures and unsettling many of their governing assumptions. Exploring the power of Antigone in a variety of political, cultural, and theoretical settings, Honig identifies the 'Antigone-effect' - which moves those who enlist Antigone for their politics from activism into lamentation. She argues that Antigone's own lamentations can be seen not just as signs of dissidence but rather as markers of a rival world view with its own sovereignty and vitality. Honig argues that the play does not offer simply a model for resistance politics or 'equal dignity in death', but a more positive politics of counter-sovereignty and solidarity which emphasizes equality in life"--

What should we do about foreigners? Should we try to make them more like us or keep them at bay to protect our democracy, our culture, our well-being? This dilemma underlies age-old debates about immigration, citizenship, and national identity that are strikingly relevant today. In Democracy and the Foreigner, Bonnie Honig reverses the question: What problems might foreigners solve for us? Hers is not a conventional approach. Instead of lauding the achievements of individual foreigners, she probes a much larger issue--the symbolic politics of foreignness. In doing so she shows not on

This book intervenes in contemporary debates about the threat posed to democratic life by political emergencies. Must emergency necessarily enhance and centralize top-down forms of sovereignty? Those who oppose executive branch enhancement often turn instead to law, insisting on the sovereignty of the rule of law or demanding that law rather than force be used to resolve conflicts with enemies. But are these the only options? Or are there more democratic ways to respond to invocations of emergency politics? Looking at how emergencies in the past and present have shaped the development of democ.

What should we do about foreigners? Should we try to make them more like us or keep them at bay to protect our democracy, our culture, our well-being? This dilemma underlies age-old debates about immigration, citizenship, and national identity that are strikingly relevant today. In Democracy and the Foreigner, Bonnie Honig reverses the question: What problems might foreigners solve for us? Hers is not a conventional approach. Instead of lauding the achievements of individual foreigners, she probes a much larger issue--the symbolic politics of foreignness. In doing so she shows not only how our.

Abstract: Singin' in the Rain (Donen and Kelly, 1952) and Sorry to Bother You (Boots Riley, 2018) carry a common thread: one (mostly) enacts and the other subverts the "epistemology of the curtain." The curtain, iconic to sound studies' acousmatic sound objects, is a figure of forensic knowing, but Sorry queers it, decentering Singin 's curtained couples with a crowd and highlighting, maybe even repairing, the raced dance theft that Carol Clover first traced in Singin '. Harlem's Black Hoofers of early twentieth-century dance, usually unremunerated and uncredited, return with a vengeance in Sorry as the equisapiens that Cash Green first encounters in a men's room. Where Schaeffer named Pythagoras as a figure for sound studies, the queered curtain of sound studies might call, rather, for Pan.

In the US, quarantine requires we stay home, but many do not have homes to stay in or may lose theirs due to job or wage loss. For this reason, moratoria have been put on evictions. At the same time, after the latest police killings, and during ensuing protests against racist policing in June 2020, some were arrested for curfew violations, many pulled off the streets but others out of their homes or off their stoops. A real right to housing addresses both homelessness and uncurbed police powers that round up and break in. To address current emergencies and correct larger wrongs of American life, a rent jubilee would better protect tenants than a moratorium. It could be construed as a "taking," allowed by the 5th Amendment, compensating landlords for their properties' being taken to serve a "public use." Popular takings, too, are rising up on behalf of a right to housing that goes beyond rent moratoria for some and the provision of low-grade "public housing" for others.

Informed by D. W. Winnicott's object relations theory, and focused on the role of Things in constituting the world that is the object of Arendtian care, this essay examines Hannah Arendt's treatment in The Human Condition of two liminal examples, cultivated land and poetry, that hover on the borders of Labor, Work, and/or Action. Cultivated land could belong to Work because cultivation leaves a lasting mark on the land, but it is assigned to Labor because land, once it is left uncultivated, returns to nature, Arendt says. Poetry could belong to Action, which is the realm of meaning-making speech, but it is assigned to Work because, Arendt argues, poetry's memorability ultimately depends on its writtenness and, once it is written, it becomes a Thing possessed of the object permanence characteristic of Work's objects. But (un)cultivated land also has a textualized form; it, too, can be written down as, for example, in the form of mapping. Why does Arendt not consider this? What possibilities of political thought or action (beyond the mere reassignment of land cultivation from Labor to Work) might have been opened had she done so? Working through these questions with particular reference to colonial cartography (in which uncultivated land, deemed "fallow," has a particularly political resonance), and reading Kafka's The Castle (cited by Arendt elsewhere) alongside Brian Friel's Translations, this essay explores practices of participatory mapping and land sabbatical that might make of land a "Thing" in Arendt's sense. Noting the Biblical origins of land sabbatical and that Arendt's move in the Work section from cultivated land to text/poem retraces George Steiner's diasporic journey "From Homeland to Text," I suggest that The Human Condition, commonly called Arendt's most Greek text, may have a Jewish unconscious.