Within queer, transgender, and Latinx and Chicanx cultural politics, brown transgender narratives are frequently silenced and erased. Brown trans subjects are treated as deceptive, unnatural, nonexistent, or impossible, their bodies, lives, and material circumstances represented through tropes and used as metaphors. Restoring personhood and agency to these subjects, Francisco J. Galarte advances “brown trans figuration” as a theoretical framework to describe how transness and brownness coexist within the larger queer, trans, and Latinx historical experiences. Brown Trans Figurations presents a collection of representations that reveal the repression of brown trans narratives and make that repression visible and palpable. Galarte examines the violent deaths of two transgender Latinas and the corresponding narratives that emerged about their lives, analyzes the invisibility of brown transmasculinity in Chicana feminist works, and explores how issues such as transgender politics can be imagined as part of Chicanx and Latinx political movements. This book considers the contexts in which brown trans narratives appear, how they circulate, and how they are reproduced in politics, sexual cultures, and racialized economies.

Honorable Mention for the National Women’s Studies Association's 2021 Gloria E. Anzaldúa Book Prize 2021 Finalist Best LGBTQ+ Themed Book, International Latino Book Awards 2022 John Leo & Dana Heller Award for Best Single Work, Anthology, Multi-Authored, or Edited Book in LGBTQ Studies, Popular Culture Association The Alan Bray Memorial Book Prize, GL/Q Caucus, Modern Language Association (MLA) 2022 AAHHE Book of the Year Award, American Association of Hispanics in Higher Education Within queer, transgender, and Latinx and Chicanx cultural politics, brown transgender narratives are frequently silenced and erased. Brown trans subjects are treated as deceptive, unnatural, nonexistent, or impossible, their bodies, lives, and material circumstances represented through tropes and used as metaphors. Restoring personhood and agency to these subjects, Francisco J. Galarte advances “brown trans figuration” as a theoretical framework to describe how transness and brownness coexist within the larger queer, trans, and Latinx historical experiences. Brown Trans Figurations presents a collection of representations that reveal the repression of brown trans narratives and make that repression visible and palpable. Galarte examines the violent deaths of two transgender Latinas and the corresponding narratives that emerged about their lives, analyzes the invisibility of brown transmasculinity in Chicana feminist works, and explores how issues such as transgender politics can be imagined as part of Chicanx and Latinx political movements. This book considers the contexts in which brown trans narratives appear, how they circulate, and how they are reproduced in politics, sexual cultures, and racialized economies.

This richly illustrated book presents a history of Egyptian late antique–early Byzantine (Coptic) art in its international stylistic, social and intellectual context.

Few poets have as much to tell us about the intricate relationship between the African American past and present as Jay Wright. His poems weave a rich fabric of personal history using diverse materials drawn from African, Native American, and European sources. Scholarly, historical, intuitive, and emotional, his work explores territories in which rituals of psychological and spiritual individuation find a new synthesis in the construction of cultural values. Never an ideologue but always a poet of vision, he shows us a way to rejoice and strengthen ourselves in our common humanity. Here, together for the first time, are Wright's previously published collections -- The Homecoming Singer (1971), Soothsayers and Omens (1976), Explications/Interpretations (1984), Dimensions of History (1976), The Double Invention of Komo (1980), Elaine's Book (1988), and Boleros (1991) -- along with the new poems of Transformations (1997). By presenting Wright's work as a whole, this collection reveals the powerful consistency of his theme -- a spiritual or intellectual quest for personal development -- as each book builds solidly upon the previous one. Wright examines history from a multicultural perspective, attempting to conquer a sense of exclusion -- from society and his own cultural identity -- and find solace and accord by linking American society to African traditions. He believes that a poem must articulate the vital rhythms of the culture it depicts and is dedicated to a pursuit of poetic forms that embody the cadence of African American culture. In "The Albuquerque Graveyard", he offers a poignant elegy to victims of slavery's Middle Passage and also reveals the purpose of his poetry.to the Black limbo, an unwritten history of our own tensions. The dead lie here in a hierarchy of small defeats. Defying characterization, Wright has experimented with voices, languages, cultures, and forms not normally associated with African American literature. He is well schooled in the cultures of West Africa, Europe, and the Americas, and -- true to his New Mexican birth -- he is a powerful synthesizer of human experience. Transfigurations reveals Wright to be a man of profound knowledge and a poet of exalted verbal intensity.

This work presents a critical perspective on many of the best-known texts of Algerian literature in French. It also discusses Maghrebian immigration into France; contemporary French writing about the Maghreb; and "nomadic" poststructuralist theories of language, subjectivity and sociality. Woodhull offers a thorough and detailed exploration of the historical context and the ways in which femininity has been represented in the texts of North African and French writers since the mid-1950s. She aims to provide an important corrective to some (male) models of anticolonialist ideology. Through informed readings of texts by "metropolitan" writers such as Le Clezio, Tournier, Cardinal, and Sullerot, Woodhull challenges the sterile dichotomies which continue to occur in the institutional organization of French departments - namely, the separation between French and Francophone literatures and cultures. In her refusal to allow nationalist concerns to take precedence over the needs of women, Woodhull breaks away from traditional Marxist readings of literature. "Transfigurations of the Maghreb" reveals how Maghrebian texts challenge the very existence of a repressive paternal law, while also attending to the historical contexts from which Maghrebian writing emerges, and the national and global conflicts that encumber its efforts to displace restrictive identities of sex, class, race, nationality and language.

In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.