Bøker utgitt av University of Minnesota Press

"Raising Kings: 10 Principles of Manhood" is an engaging children's book that imparts valuable life lessons to young boys. Through its vibrant illustrations and captivating storytelling, the book explores ten essential principles of manhood, guiding young readers toward becoming strong, honorable, and responsible individuals. With each principle embraced, these boys will embark on a lifelong journey towards kingship, empowering them to lead fulfilling and impactful lives.

Engaging a broad spectrum of ecological thought to articulate the ethical scale of global extinction As global rates of plant and animal extinctions mount, anxieties about the future of the earth's ecosystems are fueling ever more ambitious efforts at conservation, which draw on Western scientific principles to manage species and biodiversity. In Revenant Ecologies, Audra Mitchell argues that these responses not only ignore but also magnify powerful forms of structural violence like colonialism, racism, genocide, extractivism, ableism, and heteronormativity, ultimately contributing to the destruction of unique life forms and ecosystems. Critiquing the Western discourse of global extinction and biodiversity through the lens of diverse Indigenous philosophies and other marginalized knowledge systems, Revenant Ecologies promotes new ways of articulating the ethical enormity of global extinction. Mitchell offers an ambitious framework--(bio)plurality--that focuses on nurturing unique, irreplaceable worlds, relations, and ecosystems, aiming to transform global ecological-political relations, including through processes of land return and critically confronting discourses on "human extinction." Highlighting the deep violence that underpins ideas of "extinction," "conservation," and "biodiversity," Revenant Ecologies fuses political ecology, global ethics, and violence studies to offer concrete, practical alternatives. It also foregrounds the ways that multi-life-form worlds are actively defying the forms of violence that drive extinction--and that shape global efforts to manage it. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

Creative and diverse approaches to ethnographic knowledge production and writing Ethnographic research has long been cloaked in mystery around what fieldwork is really like for researchers, how they collect data, and how it is analyzed within the social sciences. Naked Fieldnotes, a unique compendium of actual fieldnotes from contemporary ethnographic researchers from various modalities and research traditions, unpacks how this research works, its challenges and its possibilities. The volume pairs fieldnotes based on observations, interviews, drawings, photographs, soundscapes, and other contemporary modes of recording research encounters with short, reflective essays, offering rich examples of how fieldnotes are composed and shaped by research experiences. These essays unlock the experience of conducting qualitative research in the social sciences, providing clear examples of the benefits and difficulties of ethnographic research and how it differs from other forms of writing such as reporting and travelogue. By granting access to these personal archives, Naked Fieldnotes unsettles taboos about the privacy of ethnographic writing and gives scholars a diverse, multimodal approach to conceptualizing and doing ethnographic fieldwork. Contributors: Courtney Addison, Te Herenga Waka--Victoria U of Wellington; Patricia Alvarez Astacio, Brandeis U; Sareeta Amrute, The New School; Barbara Andersen, Massey U Auckland, New Zealand; Adia Benton, Northwestern U; Letizia Bonanno, U of Kent; Alexandrine Boudreault-Fournier, U of Victoria; Michael Cepek, U of Texas at San Antonio; Michelle Charette, York U; Tomás Criado, Humboldt-U of Berlin; John Dale, George Mason U; Elsa Fan, Webster U; Kelly Fayard, U of Denver; Michele Friedner, U of Chicago; Susan Frohlick, U of British Columbia, Okanagan, Syilx Territory; Angela Garcia, Stanford U; Danielle Gendron, U of British Columbia; Mascha Gugganig, Technical U Munich; Natalia Gutkowski, Hebrew U of Jerusalem; T. S. Harvey, Vanderbilt U; Saida Hodzić, Cornell U; K. G. Hutchins, Oberlin College; Basit Kareem Iqbal, McMaster U; Emma Kowal, Deakin U in Melbourne; Mathangi Krishnamurthy, IIT Madras; Shyam Kunwar; Margaret MacDonald, York U in Toronto; Stephanie McCallum, U Nacional de San Martín and U de San Andrés, Argentina; Diana Ojeda, Cider, U de los Andes in Bogotá, Colombia; Valerie Olson, U of California, Irvine; Patrick Mbullo Owuor, Northwestern U; Stacy Leigh Pigg, Fraser U; Jason Pine, Purchase College, State U of New York; Chiara Pussetti, U of Lisbon; Tom Rice, U of Exeter; Leslie A. Robertson, U of British Columbia, Vancouver; Yana Stainova, McMaster U; Richard Vokes, U of Western Australia; Russell Westhaver, Saint Mary's U in Nova Scotia; Paul White, U of Nevada, Reno.

How analyzing scientific practices can alter debates on the relationship between science and reality Numerous scholarly works focus solely on scientific metaphysics or biological practice, but few attempt to bridge the two subjects. This volume, the latest in the Minnesota Studies in the Philosophy of Science series, explores what a scientific metaphysics grounded in biological practices could look like and how it might impact the way we investigate the world around us.   From Biological Practice to Scientific Metaphysics examines how to reconcile the methods of biological practice with the methods of metaphysical cosmology, notably regarding the origins of life. The contributors take up a wide range of traditional metaphysics and philosophy of science topics, including natural kinds, medicine, ecology, genetics, scientific pluralism, reductionism, operationalism, mechanisms, the nature of information, and more. Many of the chapters represent the first philosophical treatments of significant biological practices.    From causality and complexity to niche constructions and inference, the contributors review and discuss long-held objections to metaphysics by natural scientists. They illuminate how, in order to learn about the world as it truly is, we must look not only at what scientists say but also what they do: for ontology cannot be read directly from scientific claims.   Contributors: Richard Creath, Arizona State U; Marc Ereshefsky, U of Calgary; Marie I. Kaiser, Bielefeld U; Thomas A. C. Reydon, Leibniz U Hannover and Michigan State U; Lauren N. Ross, U of California, Irvine; Rose Trappes, U of Exeter; Marcel Weber, U of Geneva; William C. Wimsatt, U of Chicago.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

A critical examination of the figure of the neural network as it mediates neuroscientific and computational discourses and technical practicesNeural Networks proposes to reconstruct situated practices, social histories, mediating techniques, and ontological assumptions that inform the computational project of the same name. If so-called machine learning comprises a statistical approach to pattern extraction, then neural networks can be defined as a biologically inspired model that relies on probabilistically weighted neuron-like units to identify such patterns. Far from signaling the ultimate convergence of human and machine intelligence, however, neural networks highlight the technologization of neurophysiology that characterizes virtually all strands of neuroscientific and AI research of the past century. Taking this traffic as its starting point, this volume explores how cognition came to be constructed as essentially computational in nature, to the point of underwriting a technologized view of human biology, psychology, and sociability, and how countermovements provide resources for thinking otherwise.

"Exploring how digital humanities (DH) is taught and what that reveals about the field itself, this book highlights how DH can transform learning across a vast array of curricular structures, institutions, and education levels, from high schools and small liberal arts colleges to research-intensive institutions and postgraduate professional development programs"--

Rethinking the history of African enslavement in the western Indian Ocean through the lens of Iranian cinema   From the East African and Red Sea coasts to the Persian Gulf ports of Bushihr, Kish, and Hurmuz, sailing and caravan networks supplied Iran and the surrounding regions with African slave labor from antiquity to the nineteenth century. This book reveals how Iranian cinema preserves the legacy of this vast and yet long-overlooked history that has come to be known as Indian Ocean slavery.   How does a focus on blackness complicate traditional understandings of history and culture? Parisa Vaziri addresses this question by looking at residues of the Indian Ocean slave trade in Iranian films from the second half of the twentieth century. Revealing the politicized clash between commercial cinema (fi¿lmfärsi¿) and alternative filmmaking (the Iranian New Wave), she pays particular attention to the healing ritual z¿r, which is both an African slave descendent practice and a constitutive element of Iranian culture, as well as to cinematic s¿y¿h b¿z¿ (Persian black play). Moving beyond other studies on Indian Ocean and trans-Saharan slavery, Vaziri highlights the crystallization of a singular mode of historicity within these cinematic examples—one of “absence” that reflects the relative dearth of archival information on the facts surrounding Indian Ocean slavery.   Bringing together cinema studies, Middle East studies, Black studies, and postcolonial theory, Racial Blackness and Indian Ocean Slavery explores African enslavement in the Indian Ocean through the revelatory and little-known history of Iranian cinema. It shows that Iranian film reveals a resistance to facticity representative of the history of African enslavement in the Indian Ocean and preserves the legacy of African slavery’s longue durée in ways that resist its overpowering erasure in the popular and historical imagination.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

A guide to the colonization and projected decolonization of Native America In The Colonial Construction of Indian Country, Eric Cheyfitz mounts a pointed historical critique of colonialism through careful analysis of the dialogue between Native American literatures and federal Indian law. Illuminating how these literatures indict colonial practices, he argues that if the decolonization of Indian country is to be achieved, then federal Indian law must be erased and replaced with independent Native nation sovereignty—because subordinate sovereignty, the historical regime, is not sovereignty at all.   At the same time, Cheyfitz argues that Native American literatures, specifically U.S. American Indian literatures, cannot be fully understood without a knowledge of U.S. federal Indian law: the matrix of colonialism in Indian country. Providing intersectional readings of a range of literary and legal texts, he discusses such authors as Louise Erdrich, Frances Washburn, James Welch, Gerald Vizenor, Simon Ortiz, Leslie Marmon Silko, and others. Cheyfitz examines how American Indian writers and critics have responded to the impact of law on Native life, revealing recent trends in Native writing that build upon traditional modes of storytelling and governance.    With a focus on resistance to the colonial regime of federal Indian law, The Colonial Construction of Indian Country not only elucidates how Native American literatures and federal Indian law are each crucial to any reading of the other, it also guides readers to better understand the genocidal assault on Indigenous peoples by Western structures of literacy, politics, and law.

For the first time in English, the introductory volume in a major French philosopher's groundbreaking series of poetic transdisciplinary works Michel Serres is recognized as one of the giants of postwar French philosophy of knowledge, along with Gilles Deleuze, Jacques Derrida, Michel Foucault, and Gilbert Simondon. His early five-volume series Hermes, which appeared in the 1960s and 1970s, was an intellectual supernova in its proposition that culture and science shared the same mythic and narrative structures. Hermes I: Communication marks the start of a major publishing endeavor to introduce this foundational series into English. Building on the figure of the Greek god Hermes, who presides over the realms of communication and interpretation, Hermes I embarks on a reflection concerning the history of mathematics via Descartes and Leibniz and culminates by way of a Bachelardian logoanalytic reading of Homer, Dumas, Molière, Verne, and the story of Cinderella. We observe a singular poetic philosopher seeking to bridge the gap between the liberal arts and the sciences through a profound mathematical and poetic fable regarding information theory, history, and art, establishing a new way to think about the production of knowledge during the late twentieth century. In these pages, students and scholars of philosophy will discover an extraordinary project of thought as vital to critical reflection today as it was fifty years ago.

"Exploring what a scientific metaphysics grounded in biological practices could look like and how it might impact the way we investigate the world around us, the contributors to From Biological Practice to Scientific Metaphysics review and discuss long-held objections to metaphysics by natural scientists. They illuminate how, in order to learn about the world as it truly is, we must look not only at what scientists say but also what they do"--

Interdisciplinary essays on Manuela Infante’s award-winning play explore the relationship between critical plant studies and performance art in the Anthropocene   Since its first staging in 2016, Estado Vegetal, Manuela Infante’s riveting piece of experimental performance art, has expanded philosophical thinking into a fully-fledged artistic inquiry of nonanthropocentric being. Through Infante’s polyvocal monologue, acted with impetus by Marcela Salinas, plants are charged with an agency capable of uprooting culturally grounded conceptions of the world in the face of incommensurable trauma and loss.   This first book dedicated to Infante’s plant-focused performance features eight essays by scholars, poets, and artists whose practices draw from research fields as disparate as new materialism, anthropogenic feminism, queer studies, and speculative realism. Including an interview with Infante, the full playscript, and stills from the performance, Estado Vegetal: Performance and Plant-Thinking reveals the roles that plants in art can play in productively reconfiguring human–nonhuman relations within current anthropogenic perspectives.   Infante’s performance is a perfect case study and reference point for anyone interested in exploring the complexities of plant-thinking through alternative and experimental avenues. Furthermore, this book is at once a critical plant studies primer and an artistic problematization of the philosophical questions that have been central to the latest multidisciplinary discussions on plant-being.   Contributors: Maaike Bleeker, Utrecht U; Lucy Cotter, Portland State U; Prudence Gibson, UNSW Sydney; Michael Marder, U of the Basque Country; Dawn Sanders, U of Gothenburg; Catriona Sandilands, York U; Sibila Sotomayor Van Rysseghem, colectivo LASTESIS; Mandy-Suzanne Wong.

How representations of the preparation, sale, and consumption of leftovers in nineteenth-century urban France link socioeconomic and aesthetic history   The concept of the “harlequin” refers to the practice of reassembling dinner scraps cleared from the plates of the wealthy to sell, replated, to the poor in nineteenth-century Paris. In The Harlequin Eaters, Janet Beizer investigates how the alimentary harlequin evolved in the nineteenth and early twentieth centuries from the earlier, similarly patchworked Commedia dell’arte Harlequin character and can be used to rethink the entangled place of class, race, and food in the longer history of modernism.    By superimposing figurations of the edible harlequin taken from a broad array of popular and canonical novels, newspaper articles, postcard photographs, and lithographs, Beizer shows that what is at stake in nineteenth-century discourses surrounding this mixed meal are representations not only of food but also of the marginalized people—the “harlequin eaters”—who consume it at this time when a global society is emerging. She reveals the imbrication of kitchen narratives and intellectual–aesthetic practices of thought and art, presenting a way to integrate socioeconomic history with the history of literature and the visual arts. The Harlequin Eaters also offers fascinating background to today’s problems of food inequity as it unpacks stories of the for-profit recycling of excess food across class and race divisions.

"The deep and personal story-told through history, poetry, and images-of the forced displacement of the Sâami people from their homeland in northern Norway and Sweden and its reverberations today More than a hundred years have passed since the Sâami were forcibly displaced from their homes in northern Norway and Sweden, a hundred years since Elin Anna Labba's ancestors and relations drove their reindeer over the strait to the mainland for the last time. The place where they lived has remained empty ever since. We carry our homes in our hearts, Labba shares, citing the Sâami poet âAillohaés. How do you bear that weight if you were forced to leave?"--

"Diving deep into the rich traditions and vibrant creative communities of northern Scandinavia, Barbara Sjoholm shares her winter adventures in Lapland and Sâapmi in The Palace of the Snow Queen. Writing with keen insight and humor, she offers a timely investigation of how ice and snow shape our imaginations and create a vision that continues to draw visitors to the North"--

"Horror in Architecture presents an unflinching look at how horror genre tropes manifest in the built environment. Spanning the realms of art, design, literature, and film, this newly revised and expanded edition compiles examples from all areas of popular culture to form a visual anthology of the architectural uncanny, showing how their unsettling effects permeate the modern condition and the material world while deepening our fascination with the unreal"--