Rabinbach explores their ideas in relation to the two world wars and the horrors facing Europe at that time. Analyzing the work of Benjamin and Bloch, he suggests their indebtedness to the traditions of Jewish messianism. In a discussion of Hugo Ball's little-known Critique of the German Intelligentsia, Rabinbach reveals the curious intellectual career of the Dadaist and antiwar activist turned-nationalist and anti-Semite.
His examination of Heidegger's "Letter on Humanism" and Jaspers's The Question of German Guilt illuminates the complex and often obscure political referents of these texts. Turning to Horkheimer and Adorno's Dialectic of Enlightenment, Rabinbach offers an arresting new interpretation of this central text of the critical theory of the Frankfurt School. Subtly and persuasively argued, his book will become an indispensable reference point for all concerned with twentieth-century German history and thought.
Anne Griffiths originally went to Botswana to establish a university course in family law. But independent fieldwork in Botswana convinced her of the central role of the traditional customary legal system that stands alongside the colonial common law of courts and magistrates she was examining in her course. In the first comparative work on these two systems, Griffiths shows how the structure of both legal institutions is based on power and gender relations that heavily favor males.
Griffiths's analysis is based on careful observation of how people actually experience the law as well as the more standard tools of statutes and cases familiar to Western legal scholars. She explains how women's access to law is determined by social relations over which they have little control. In this powerful feminist critique of law and anthropology, Griffiths shows how law and custom are inseparable for Kwena women.
Both colonial common law and customary law pose comparable and constant challenges to Kwena women's attempts to improve their positions in society. The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In close readings of such films as The Cheat, Shadows, and Hallelujah! In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film.
Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema. The book was published in multiple languages including English, consists of pages and is available in Mass Market Paperback format.
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