Based on the author's doctoral dissertation--New York University.

Guerin's classic anthology of anarchism translated and reprinted, available for the first time in a single volume.

At the intersection of politics and religion is a nexus of belief in doctrine and adherence to socio-political cultural conventions. Lines of communication and methods of belonging permeate both spheres, enabling their respective participants, especially the (often self-described) ‘true believers’, to bond and belong, and most importantly to adhere to their various belief systems. Traditionally, this nexus has been approached from a standpoint that posits the idea of secularity as the governing principle. The authors in this volume challenge this orthodoxy. They examine a diverse range of historical and geographic locations involving markedly different religious and political movements. They explore how nation-states develop political religions, how they actively promote a politics infused with religiosity, and how they transfer symbols and meanings from one socio-political construct to another. Despite markedly different philosophical differences, the contributors repudiate the currently dominant orthodoxies on the relationship between religion and politics. They demonstrate that ‘secular’ democracy is not radically separate from religion. Nation-states actively participate in the construction of this nexus even as they extol their commitment to secular values. In so doing, they demonstrate that secularity as it is currently understood remains deeply implicated in the nexus between religion and politics in the twenty-first century.

From IKEA assembly guides and “hands and pans” cooking videos on social media to Mister Rogers's classic factory tours, representations of the step-by-step fabrication of objects and food are ubiquitous in popular media. In The Process Genre Salomé Aguilera Skvirsky introduces and theorizes the process genre—a heretofore unacknowledged and untheorized transmedial genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product. Originating in the fifteenth century with machine drawings, and now including everything from cookbooks to instructional videos and art cinema, the process genre achieves its most powerful affective and ideological results in film. By visualizing technique and absorbing viewers into the actions of social actors and machines, industrial, educational, ethnographic, and other process films stake out diverse ideological positions on the meaning of labor and on a society's level of technological development. In systematically theorizing a genre familiar to anyone with access to a screen, Skvirsky opens up new possibilities for film theory.

Michael Haneke, whose films include 'The Piano Teacher' and 'The White Ribbon', has emerged over the past 15 years as a major figure in world cinema. This collection of essays offers a criticial inquiry & close formal analysis of his work, noted for its philosophical, historical & stylistic complexity.

Was anarchism in areas outside of Europe an import and a script to be mimicked? Was it perpetually at odds with other currents of the Left? The authors in this collection take up these questions of geographical and political peripheries. Building on recent research that has emphasized the plural origins of anarchist thought and practice, they reflect on the histories and cultures of the antistatist mutual aid movements of the last century beyond the boundaries of an artificially coherent Europe. At the same time, they reexamine the historical relationships between anarchism and communism without starting from the position of sectarian difference (Marxism versus anarchism). Rather, they look at how anarchism and communism intersected; how the insurgent Left could appear—and in fact was—much more ecumenical, capacious, and eclectic than frequently portrayed; and reveal that such capaciousness is a hallmark of anarchist practice, which is prefigurative in its politics and antihierarchical and antidogmatic in its ethics. Copublished the with Institute for Comparative Modernities, this collection includes contributions by Gavin Arnall, Mohammed Bamyeh, Bruno Bosteels, Raymond Craib, Silvia Rivera Cusicanqui, Geoffroy de Laforcade, Silvia Federici, Steven J. Hirsch, Adrienne Carey Hurley, Hilary Klein, Peter Linebaugh, Barry Maxwell, David Porter, Maia Ramnath, Penelope Rosemont, and Bahia Shehab.