Until recently, the figurative artists who dominated the Los Angeles art scene of the 1940s and 50s had largely been written out of art history. L.A. Raw is an attempt to right that wrong. Bringing together works by 41 artists in a variety of media, it traces a lineage that connects postwar figurative expressionism to the 1960s and 70s investigations of politics, gender and ethnicity in art. The featured artists include John Altoon, Wallace Berman, William Brice, Hans Burckhardt, Chris Burden, Cameron, Judy Chicago, Connor Everts, Llyn Foulkes, Charles Garabedian, David Hammonds, Robert Heinecken, John Paul Jones, Kim Jones, Ed and Nancy Kienholz, Rico Lebrun, Paul McCarthy, Arnold Mesches, Betye Saar, Ben Sakoguchi, Barbara Smith, James Strombotne, Jan Stussy, Edward Teske, Joyce Treiman, Howard Warshaw, June Wayne, Charles White and Jack Zajac.

This vital study offers a new interpretation of Hume's famous "Of Miracles," which notoriously argues against the possibility of miracles. By situating Hume's popular argument in the context of the eighteenth-century debate on miracles, Earman shows Hume's argument to be largely unoriginal and chiefly without merit where it is original. Yet Earman constructively conceives how progress can be made on the issues that Hume's essay so provocatively posed about the ability of eyewitness testimony to establish the credibility of marvelous and miraculous events.

Few writers have attempted to explore the natural history of a particular animal by adopting the animal’s own sensibility. But Verlyn Klinkenborg has done just that in Timothy: an insightful and utterly engaging story of the world’s most famous tortoise, whose real life was observed by the eighteenth-century English curate and naturalist Gilbert White. For thirteen years, Timothy lived in White’s garden. Here Klinkenborg gives the tortoise an unforgettable voice and keen powers of observation on both human and natural affairs. Wry and wise, unexpectedly moving and enchanting at every–careful–turn, Timothy surprises and delights.

Virginia Burrus explores one of the strongest and most disturbing aspects of the Christian tradition, its excessive preoccupation with shame. While Christianity has frequently been implicated in the conversion of ancient Mediterranean cultures from shame- to guilt-based, and thus in the emergence of the modern West's emphasis on guilt, Burrus seeks to recuperate the importance of shame for Christian culture. Focusing on late antiquity, she explores a range of fascinating phenomena, from the flamboyant performances of martyrs to the imagined abjection of Christ, from the self-humiliating disciplines of ascetics to the intimate disclosures of Augustine.

Burrus argues that Christianity innovated less by replacing shame with guilt than by embracing shame. Indeed, the ancient Christians sacrificed honor but laid claim to their own shame with great energy, at once intensifying and transforming it. Public spectacles of martyrdom became the most visible means through which vulnerability to shame was converted into a defiant witness of identity; this was also where the sacrificial death of the self exemplified by Christ's crucifixion was most explicitly appropriated by his followers. Shame showed a more private face as well, as Burrus demonstrates. The ambivalent lure of fleshly corruptibility was explored in the theological imaginary of incarnational Christology. It was further embodied in the transgressive disciplines of saints who plumbed the depths of humiliation. Eventually, with the advent of literary and monastic confessional practices, the shame of sin's inexhaustibility made itself heard in the revelations of testimonial discourse.

In conversation with an eclectic constellation of theorists, Burrus interweaves her historical argument with theological, psychological, and ethical reflections. She proposes, finally, that early Christian texts may have much to teach us about the secrets of shame that lie at the heart of our capacity for humility, courage, and transformative love.

This is a comprehensive survey of his art, covering 20 years of his career, from staged photography to neo-surrealist oil paintings, from street art to culture jamming. An important look at the work of an artist who has been at the forefront of movements in photography, painting, activist art, and underground music.

Abject Relations presents an alternative approach to anorexia nervosa, long considered the epitome of a Western obsession with individualism, beauty, self-control, and autonomy. Through detailed ethnographic investigations, Megan Warin looks at the heart of what it means to live with anorexia on a daily basis. Participants describe difficulties with social relatedness, not being at home in their body, and feeling disgusting and worthless. For them, anorexia becomes a seductive and empowering practice that cleanses bodies of shame and guilt, becomes a friend and support, and allows them to forge new social relations. Unraveling anorexia's complex relationships and contradictions, Warin constructs a new theoretical perspective rooted in a socio-cultural context of bodies and gender. Abject Relations departs from conventional psychotherapy approaches and offers a different "logic," one that involves the shifting forces of power, disgust, and desire. It provides new ways of thinking that may have implications for future treatment regimes. Megan Warin is a social anthropologist in the Discipline of Gender, Work, and Social Inquiry at the University of Adelaide. She has previously worked across anthropology, psychiatry, and public health at various institutions, including Durham University, the University of Adelaide, and Flinders University of South Australia. Praise for Abject Relations: "Warin has taken the topic of anorexia, which many of us feel that we know something about, and brilliantly cast a whole new light on it. Through vivid ethnography and evocative prose, she ensures that you won't think about anorexia or those affected by it in quite the same way ever again."-C. H. Browner, UCLA School of Medicine "Anthropologist Megan Warin combines rich multisited ethnographic research on anorexic women's lived experiences with a sophisticated theoretical approach based on concepts of abjection and relatedness to offer fascinating and original insights into anorexia nervosa."-Carole M. Counihan, author of The Anthropology of Food and Body: Gender, Meaning, and Power

Abject Terrors is an expansive study of the most significant films from the prolific horror genre—from its origins in the 1920s and 1930s, to its contemporary representations. This survey brings together close analyses of individual motion pictures, demonstrating the interconnections among these filmic texts and their contribution to defining quintessential aspects of the modern and postmodern horror film.

What do the Promise Keeper's Movement and the Million Man March reveal about our notions of masculinity and paternal responsibility? What can such films as Varda's Vagabond and Bergman's Persona tell us about contemporary notions of masculinity and femininity? In this provocative new book, well-known feminist and philosopher Kelly Oliver examines the dynamics of identity to develop a new theory which challenges traditional notions of paternity and maternity.

This collection of eighteen essays explores the meanings and depictions of beauty and the abject in art (from Renaissance portraiture to the canvasses of Salvador Dali); photography and the representation of the body; film (from the horror genre and gay/lesbian sexuality to socio-political problems); literature (from classical lyric and pastoral drama to the contemporary verbal arts); cultural studies (from the femme fatale and James Bond to vampires and monsters); architecture; and linguistics. These essays not only examine the theme from a variety of media and critical perspectives, they also scrutinize and challenge traditional notions of beauty and the abject.

Abject Loyalty challenges the view that Irish nationalists were necessarily hostile to the British monarchy. During Queen Victoria’s reign, royal visits to Ireland were in fact generally met with great enthusiasm. Indeed, the strength of the opposition of some Irish nationalists to the monarchy was a sign of the purchase that it seemed to have on the allegiance of many people within nationalist Ireland. By the 1880s, however, the monarchy had become the focus for British imperial identity in England and for the denial of constitutional legitimacy to those in Ireland who wished for home rule. It began to face increasing opposition in Ireland both because nationalist politicians feared its influence might reconcile Irish people to the Union with Britain and because enthusiasm for monarchy in Ireland was used to feed a British discourse which saw Ireland as a country that could be appeased by concessions short of home rule and which did not take nationalist demands! seriously.

The book traces Ireland’s interaction with the British monarchy from King George III to Queen Elizabeth II but focuses on the reign of Queen Victoria. It deals with its topic on two levels. It explores Queen Victoria’s interaction with Ireland and her influence on British policy towards Ireland. And it examines how Queen Victoria and monarchy were perceived in Ireland.

Whereas Queen Victoria’s views and actions have previously been subject to historical analysis, no previous study has seriously explored how she was perceived in Ireland or the subtleties of nationalism’s attitude towards monarchy. Abject Loyalty makes a significant and original contribution to the political and cultural history of Ireland and will be of interest to those concerned with understanding the historical development of Irish identity.