The Consequences of Humiliation explores the nature of national humiliation and its impact on foreign policy. Joslyn Barnhart demonstrates that Germany's catastrophic reaction to humiliation at the end of World War I is part of a broader pattern: states that experience humiliating events are more likely to engage in international aggression aimed at restoring the state's image in its own eyes and in the eyes of others. Barnhart shows that these states also pursue conquest, intervene in the affairs of other states, engage in diplomatic hostility and verbal discord, and pursue advanced weaponry and other symbols of national resurgence at higher rates than non-humiliated states in similar foreign policy contexts. Her examination of how national humiliation functions at the individual level explores leaders' domestic incentives to evoke a sense of national humiliation. As a result of humiliation on this level, the effects may persist for decades, if not centuries, following the original humiliating event.

Wayne Koestenbaum considers the meaning of humiliation in this eloquent work of cultural critique and personal reflection. The lives of people both famous and obscure are filled with scarlet-letter moments when their dirty laundry sees daylight. In these moments we not only witness the reversibility of "success," of prominence, but also come to visceral terms with our own vulnerable selves. We can't stop watching the scene of shame, identifying with it and absorbing its nearness, and relishing our imagined immunity from its stain, even as we acknowledge the universal, embarrassing predicament of living in our own bodies. With an unusual, disarming blend of autobiography and cultural commentary, noted poet and critic Wayne Koestenbaum takes us through a spectrum of mortifying circumstances—in history, literature, art, current events, music, film, and his own life. His generous disclosures and brilliant observations go beyond prurience to create a poetics of abasement. Inventive, poignant, erudite, and playful, Humiliation plunges into one of the most disquieting of human experiences, with reflections at once emboldening and humane.

'In an illuminating and darkly intelligent study, William Miller...has revealed...humiliation as the closet dominatrix she is, an emotion whose power to discipline us makes the world go round...Miller makes his pages blaze and roar...by throwing another handful of hollow complacencies upon the fire....The five essays making up this book...are about the persistence of the norm of reciprocity in our daily lives, about the ways in which shame and envy and especially humiliation sustain 'cultures of honor' to this day.'-Speculum

Wang follows the Chinese Communist Party's ideological re-education of the public through the exploitation of China's humiliating modern history, tracking the CCP's use of history education to glorify the party, re-establish its legitimacy, consolidate national identity, and justify one-party rule in the post-Tiananmen and post-Cold War era.

“Western people no longer hear; everything is grasped by sight. They no longer speak; they show.” -- Jacques Ellul Well-known for his many books on sociology and theology, Jacques Ellul creatively braids these two strands together in this provocative examination of how reality (which is visual) has superseded truth (which is verbal) in modern times. Ellul explores biblical texts for distinguishing visual cultural forms from the communicative (divine and human) Word, then examines how this distinction plays out with the rise of audiovisual media in the 20th-century West. Even in human speech, visual forms dominate contemporary life and devalue the word; this insight informs discussion of the image/word clash in religion, politics, and art. After a scathing critique of present-day idolatry, Ellul places his hope for nonviolent community in the fragile spoken word. Ultimately, Ellul sees the Bible as presenting a hopeful vision of reconciliation—between visual reality and spoken truth. A new afterword by Jacob Marques Rollison contextualizes Ellul’s stance within French postmodern thought, illuminating Humiliation of the Word as an outspokenly “Protestant communication ethic” in contemporary philosophical and theological discussions of language.

In a brilliant procession through the last 250 years, Ute Frevert looks at the role that public humiliation has played in modern society, showing how humiliation - and the feeling of shame that it engenders - has been used as a means of coercion and control, from the worlds of politics and international diplomacy through to the education of children and the administration of justice. We learn the stories of the French women whose hair was compulsorily shaven as a punishment for alleged relations with German soldiers during the occupation of France, and of the transgressors in the USA who are made to carry a sign announcing their presence when walking down busy streets. Bringing the story right up to the present, we see how the internet and social media pillorying have made public shaming a ubiquitous phenomenon. Using a multitude of both historical and contemporary examples, Ute Frevert shows how humiliation has been used as a tool over the last 250 years (and how it still is today), a story that reveals remarkable similarities across different times and places. And we see how the art of humiliation is in no way a thing of the past but has been re-invented for the 21st century, in a world where such humiliation is inflicted not from above by the political powers that be but by our social peers.

Pride and disgrace. Nostalgia and revenge. Tenderness and seduction. From the dusty backstreets of Santiago and the sun-baked alleyways of impoverished fishing villages to the dark stairwells of urban apartment blocks, Paulina Flores paints an intimate picture of a world in which the shadow of humiliation, of delusion, seduction and sabotage, is never far away. This is a Chile we seldom see in fiction. With an exceptional eye for human fragility, with unfailing insight and extraordinary tenderness, Humiliation is a mesmerising collection from a rising star of South American literature, translated from the Spanish by Man Booker International Prize finalist Megan McDowell.