Suchergebnisse

1. Why Elect a Self-Defeating War? / 7. - 2. Bring 'Em On: Making the World Safe for Democracy / 38. - 3. What Went Wrong: The Decapitationist Consensus of Washington Elites / 72. - 4. What Were Neoconservatives Thinking? / 99. - 5. Democratic Hawks / 142. - 6. American Exceptionalism Meets Iraqi History / 183. - 7. The Semi-Sovereign Shi'i State / 222

The logic of white supremacy -- The mother of identity politics -- The white man's burden -- The politics of the political economy -- The power politics of the transition to democracy -- Non-racialism as an ideology -- The political economy of identity politics -- The who, not the what

In All Souls, Michael Patrick MacDonald told the story of the loss of four of his siblings to the violence, poverty, and gangsterism of Irish South Boston. In Easter Rising he tells the story of how he got out. Desperate to avoid the "normal" life of Southie, Michael reinvents himself in the burgeoning punk rock movement and the thrilling vortex of Johnny Rotten, Mission of Burma, and the Clash. At nineteen MacDonald escapes further, to Paris and then London. Out of money, he contacts his Irish immigrant grandfather -- who offers a loan, but only if Michael will visit Ireland. It is this reluctant journey "home" that offers MacDonald a chance at reconciliation -- with his heritage, his neighborhood, and his family -- and a way forward

The notion that ethnographic practice needs to be normative in order to be rigorous is problematic, especially when the partners in that research are producing experimental and resistant DIY cultures. Nonnormative ethnographers are "activist" in their critical engagement with dominant regimes of truth and must contend with digital disruption and platform capitalism that has vastly expanded DIY production. It is no longer possible to identify DIY culture with self-production because digital self-production is simply demanded for the "digital citizenship" of platform capitalism. In this article, the psychoanalytic concept of projection is turned upside down and understood as a socially performed digital-bodying that worlds. The screen becomes a location of dissensus, projecting the ecstatic truth of Modern/capitalist worldings or Altermodern/anti-capitalist worldings. Cinematic research-creation, CineWorlding, is an activist cinematic posthumanographic study of the interstices that infold concepts, bodies, social, technological, and environmental ecologies into worldings.