Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms “sonic Afro-modernity.” He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity—among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity. Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong’s voice to DJ mixing techniques to Darnell Martin’s 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more.

Harshly exploited migrant labour plays a fundamental role in the political economy of contemporary capitalism. The abstract and utopian theorising of many liberals and leftists on the migration question often ignores or downplays patterns of displacement and brutal class dynamics, which divide and weaken working people while empowering the ruling class. In this important new book, Hannah Cross provides a sober analysis of the class antagonisms of migration in the context of the nation, social democracy, and the racialized ordering of the world. Bringing Marxist methodology and strategy to a careful analysis of existing emancipatory movements, she sets out the programmes and approaches that are needed to promote global worker solidarity and create a future in which cheap labour is no longer a mainstay of wealthy economies. This focus on the labouring classes allows her to identify some important new directions for migration in a world beyond capitalism, exploitation and injustice. This book will be essential reading for students, scholars and general readers interested in the politics and political economy of migration in a world unhelpfully caught between racist authoritarian capitalism and the wishful-thinking of contemporary left-liberalism.

Somatechnics highlights the reciprocal bond between the sôma and the techné of 'the body' and the techniques in which bodies are formed and transformed as crafted responses to the world around us. Structured around the themes of the governance of social bodies, the gendering of sexed bodies and the techniques associated with the formation of the self, Somatechnics presents a groundbreaking study of body modification. Its contributions to the work of Spinoza, Nietzsche, Merleau-Ponty, Deluze and Guattari make it a must read for scholars of sociology, cultural and queer studies and philosophy.

While the creation of Dolly the sheep, the world's most famous clone, triggered an enormous amount of discussion about human cloning, in Dolly Mixtures the anthropologist Sarah Franklin looks beyond that much-rehearsed controversy to some of the other reasons why the iconic animal's birth and death were significant. Building on the work of historians and anthropologists, Franklin reveals Dolly as the embodiment of agricultural, scientific, social, and commercial histories which are, in turn, bound up with national and imperial aspirations. Dolly was the offspring of a long tradition of animal domestication, as well as the more recent histories of capital accumulation through selective breeding, and enhanced national competitiveness through the control of biocapital. Franklin traces Dolly's connections to Britain's centuries-old sheep and wool markets (which were vital to the nation's industrial revolution) and to Britain's export of animals to its colonies—particularly Australia—to expand markets and produce wealth. Moving forward in time, she explains the celebrity sheep's links to the embryonic cell lines and global bioscientific innovation of the late twentieth century and early twenty-first. Franklin combines wide-ranging sources—from historical accounts of sheep-breeding, to scientific representations of cloning by nuclear transfer, to popular media reports of Dolly's creation and birth—as she draws on gender and kinship theory as well as postcolonial and science studies. She argues that there is an urgent need for more nuanced responses to the complex intersections between the social and the biological, intersections which are literally reshaping reproduction and genealogy. In Dolly Mixtures, Franklin uses the renowned sheep as an opportunity to begin developing a critical language to identify and evaluate the reproductive possibilities that post-Dolly biology now faces, and to look back at some of the important historical formations that enabled and prefigured Dollys creation.