Cryptohistories is a collection of essays which provides a meeting ground for historians and cultural scholars analysing discussions of cryptic discourses in history and in historical narratives with roots in the mysterious. The focus here is on history as a subjective narrative, as a conscious construct and as manipulation. Equally important for all the contributors brought together in this book is the mechanics of the rise, popularity and apparent necessity of such narrative strategies. The essays address a variety of issues revolving around the study of cryptic aspects of discourses, ranging from theoretical approaches to secretive narratives of history, cultural encoding and decoding of cryptohistories, microhistories focusing on historical mysteries, and mythicised pasts and processes of mythicization of the past, as well as histories and theories of chance and manipulation. Among its specific subjects Crytpohistories features discussions on the reasons why certain quasi-historical narratives do not reach the status of history; on conspiracy theories analysed from the perspective of contemporary video-games; on the paradoxes of truth and falsehood in history; on parasitology as a cryptohistorical discourse; on the codes of Victorian floriography; on cases of cross-dressing and sartorial camouflage; on the Vietnam War MIAs; on manipulations lying at the core of contemporary Bulgarian identity; on the search for a racial utopia in the American South; and on the fiction of Beryl Bainbridge as a form of cryptohistorical literature.

Archaeologies of the Contemporary Past turns what is usually seen as a method for investigating the distant past onto the present. In doing so, it reveals fresh ways of looking both at ourselves and modern society as well as the discipline of archaeology. This volume represents the most recent research in this area and examines a variety of contexts including: * Art Deco * landfills * miner strikes * college fraternities * an abandoned council house.

Human societies have always been characterized by a dependence on artifacts, from prehistoric stone tools to modern electronic devices. Technology responds to and affects virtually all human behavior; yet the interdependence of behavior and artifacts has never been studied intensively. Archaeologist Schiffer now draws on his discipline's familiarity with artifacts--and the processes of change they reveal--to offer new insight into the study of behavioral change. Drawing on case studies that deal with changes in architecture, ceramics and electronic technology, he emphasizes the central idea that the explanations of change must focus on the nexus of behavior and artifacts in the context of activities.

In this fascinating history of the portable radio, Michael Schiffer shows how this invention is as American as apple pie. Along the way, he tells how technology has responded to consumer preference, how corporate "cryptohistory" has made us believe the Japanese invented the radio, and how the spread of the portable radio mirrors that of other technologies. More than 400 photographs make this book both a definitive resource and a delightful browse.

The central concern of these eight studies and essays is the understanding and critique of culture at the shifty boundaries between the Modem and the Postmodern epochs. The author contends that what needs to be addressed is the very abyss, the "spacetime" between the Modern and the Postmodern worldviews, as well as the tension between aesthetics and ethics, critical discourse and the creative arts, in an effort to rethink multireferential processes of signification. The keystone of the book is Carravetta's notion of Diaphoristics, a theory of interpretation as dialogue. Diaphora, or difference, refers to the ancient quarrel between poetry and philosophy and signifies the movement between asymmetrical or heterogeneous forms of discourse that have, both historically and speculatively, borne the transfer of meaning from one semantic/hermeneutic field to another. The author focuses on the necessary risk and duplicity of criticism and develops nonagonistic models based on figuration and rhetorical dynamics. In two other chapters, the author steps back to reassess, in terms of the diaphora, the diverging notions of Postmodernity by the continental philosophers Lyotard and Vattimo. The collection ends with an essay on the long-overdue conversation between Vico and Heidegger.

More than 700 'utopian' novels are published in Russia every year. These utopias – meaning here fantasy fiction, science fiction, space operas or alternative history – do not set out merely to titillate; instead they express very real Russian anxieties: be they territorial right-sizing, loss of imperial status or turning into a 'colony' of the West. Contributors to this innovative collection use these narratives to re-examine post-Soviet Russian political culture and identity. Interrogating the intersections of politics, ideologies and fantasies, chapters draw together the highbrow literary mainstream (authors such as Vladimir Sorokin), mass literature for entertainment and individuals who bridge the gap between fiction writers and intellectuals or ideologists (Aleksandr Prokhanov, for example, the editor-in-chief of Russia's far-right newspaper Zavtra). In the process The Post-Soviet Politics of Utopia sheds crucial light onto a variety of debates – including the rise of nationalism, right-wing populism, imperial revanchism, the complicated presence of religion in the public sphere, the function of language – and is important reading for anyone interested in the heightened importance of ideas, myths, alternative histories and conspiracy theories in Russia today.