Professor Belsey explains the views of recent theorists, including Jean-François Lyotard, Judith Butler and Slavoj Zizek, in order to take issue with their accounts of what it is to be human.

In this classic study of the relationship between technology and culture, Miles Orvell demonstrates that the roots of contemporary popular culture reach back to the Victorian era, when mechanical replications of familiar objects reigned supreme and realism dominated artistic representation. Reacting against this genteel culture of imitation, a number of artists and intellectuals at the turn of the century were inspired by the machine to create more authentic works of art that were themselves "real things." The resulting tension between a culture of imitation and a culture of authenticity, argues Orvell, has become a defining category in our culture. The twenty-fifth anniversary edition includes a new preface by the author, looking back on the late twentieth century and assessing tensions between imitation and authenticity in the context of our digital age. Considering material culture, photography, and literature, the book touches on influential figures such as writers Walt Whitman, Henry James, John Dos Passos, and James Agee; photographers Alfred Stieglitz, Walker Evans, and Margaret Bourke-White; and architect-designers Gustav Stickley and Frank Lloyd Wright.

Professor Belsey explains the views of recent theorists, including Jean-François Lyotard, Judith Butler and Slavoj Zizek, in order to take issue with their accounts of what it is to be human.

How real is race? What is biological fact, what is fiction, and where does culture enter? What do we mean by a “colorblind” or “postracial” society, or when we say that race is a “social construction”? If race is an invention, can we eliminate it? This book, now in its second edition, employs an activity-oriented approach to address these questions and engage readers in unraveling—and rethinking—the contradictory messages we so often hear about race. The authors systematically cover the myth of race as biology and the reality of race as a cultural invention, drawing on biocultural and cross-cultural perspectives. They then extend the discussion to hot-button issues that arise in tandem with the concept of race, such as educational inequalities; slurs and racialized labels; and interracial relationships. In so doing, they shed light on the intricate, dynamic interplay among race, culture, and biology. For an online supplement to How Real Is Race? Second Edition, click here.

DIVAn ethnographic study of country music, and the bars, life, and everyday speech of its rural fans./div

Overwhelmingly, Black teenage girls are negatively represented in national and global popular discourses, either as being “at risk” for teenage pregnancy, obesity, or sexually transmitted diseases, or as helpless victims of inner city poverty and violence. Such popular representations are pervasive and often portray Black adolescents’ consumer and leisure culture as corruptive, uncivilized, and pathological. In She’s Mad Real, Oneka LaBennett draws on over a decade of researching teenage West Indian girls in the Flatbush and Crown Heights sections of Brooklyn to argue that Black youth are in fact strategic consumers of popular culture and through this consumption they assert far more agency in defining race, ethnicity, and gender than academic and popular discourses tend to acknowledge. Importantly, LaBennett also studies West Indian girls’ consumer and leisure culture within public spaces in order to analyze how teens like China are marginalized and policed as they attempt to carve out places for themselves within New York’s contested terrains.