2023 Honorable Mention Best History Book, International Latino Book Awards
Broad and encompassing examination of Chicanx popular culture since World War II and the utopian visions it articulated
Amid the rise of neoliberalism, globalization, and movements for civil rights and global justice in the post–World War II era, Chicanxs in film, music, television, and art weaponized culture to combat often oppressive economic and political conditions. They envisioned utopias that, even if never fully realized, reimagined the world and linked seemingly disparate people and places. In the latter half of the twentieth century, Chicanx popular culture forged a politics of the possible and gave rise to utopian dreams that sprang from everyday experiences.
In Chicanx Utopias, Luis Alvarez offers a broad study of these utopian visions from the 1950s to the 2000s. Probing the film Salt of the Earth, brown-eyed soul music, sitcoms, poster art, and borderlands reggae music, he examines how Chicanx pop culture, capable of both liberation and exploitation, fostered interracial and transnational identities, engaged social movements, and produced varied utopian visions with divergent possibilities and limits. Grounded in the theoretical frameworks of Walter Benjamin, Stuart Hall, and the Zapatista movement, this book reveals how Chicanxs articulated pop cultural utopias to make sense of, challenge, and improve the worlds they inhabited.
What is papal diplomacy and what role does it play on the larger geopolitical stage? Why does it matter what popes say to a global audience? "As John Tanyi points out, papal diplomacy has followed a trajectory all its own over the years. In today’s globalized world, the Holy See stands out as an important communicator with a widely respected moral voice. It is often said that 'When the Pope speaks, the world listens.' What sets the diplomatic voices of the Holy Father and his envoys apart from all others is that they speak and act for the good of humanity––not just for the sovereign entity they represent, and not just for Catholics. As a former foreign minister of the Holy See, Cardinal Jean Louis Tauran, once described the mission of papal diplomats: 'Our duty is to promote and defend not only the freedom and rights of Catholic communities around the world, but also to promote certain principles without which there is no civilization.'"
The particular example of Pope John Paul II is a groundbreaking example of the critical nature of ecclesiastical diplomacy and why popes as diplomats are playing at a greater level than other statesmen. As George Weigel notes, popes must combat all the problems of the world, but also importantly what he calls the 'tyranny of the possible'––that is, in all things compromise and complacency will play a part. It is the position occupied by one man, the heir of St. Peter, to know when to defy the entirety of global politics (and sometimes what seems like common sense) to say 'yes' and 'no' definitively in light of unchanging truths.
The Poetry of the Possible challenges the conventional image of modernism as a socially phobic formation, arguing that modernism’s abstractions and difficulties are ways of imagining unrealized powers of collective self-organization. Establishing a conceptual continuum between modernism and contemporary theorists such as Paulo Virno, Michael Hardt, Antonio Negri, and Alain Badiou, Joel Nickels rediscovers modernism’s attempts to document the creative potenza of the multitude.
By examining scenes of collective life in works by William Carlos Williams, Wyndham Lewis, Laura Riding, and Wallace Stevens, Nickels resurrects modernism’s obsession with constituent power: the raw, indeterminate capacity for reciprocal counsel that continually constitutes and reconstitutes established political regimes. In doing so, he reminds us that our own attempts to imagine leaderless networks of collective initiative are not so much breaks with modernist forms of knowledge as restagings of some of modernism’s most radical moments of political speculation.
Setting modernism’s individual and collective models of spontaneity in dialogue with theorists of political spontaneity such as Antonio Gramsci, Herbert Marcuse, and Theodor Adorno, Nickels retells the story of modernism as the struggle to represent powers of collective self-organization that lie outside established regimes of political representation.
“Daniels is a keen observer of visceral moments and powerful emotions.” —Kirkus Reviews
“A book of burning soulfulness.” —Edward Hirsch
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