Visar resultat för..."Red Pill Press"

A smart and accessible dissection of twenty-first-century fascist politics, providing general readers with the tools to understand, and defeat, today’s resurgent far right “Fascism is the term that is everywhere and nowhere in contemporary political discussions.” —David OstAround the globe, far-right political parties and movements are on the march, stoking fears of the revival of fascism. What to make of this dangerous drift?In this masterly examination of far-right politics past and present, political scientist David Ost argues that in order to resist its revival, we must understand its often broad appeal, particularly to non-elites who have traditionally aligned with the Left. Ost shows that equating fascism only with violence and mass repression misses its distinctive populist elements, and thus keeps us from recognizing the dangers of a contemporary Right that, for now, downplays its repressive dimensions.Drawing on a wide range of contemporary and historical examples, Ost argues that both classic fascism and today’s right-wing populism should be seen as different versions of what he calls Red Pill Politics. Both promote authoritarian politics, intolerance, xenophobic outrage, and rigid gender roles. Yet they win support by speaking for the dissatisfied with anti-elitist rhetoric, while underemphasizing their repressive policies. They have their best chance of winning when the Left is failing.Red Pill Politics draws on meticulous historical research and deep familiarity with current global developments to present a startlingly original analysis that helps us understand and challenge today’s most pressing political threat.

Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. CÁel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.

Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. CÁel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.

A Times Higher Education Book of the WeekA virulent strain of antifeminism is thriving online that treats women’s empowerment as a mortal threat to men and to the integrity of Western civilization. Its proponents cite ancient Greek and Latin texts to support their claims—from Ovid’s Ars Amatoria to Seneca and Marcus Aurelius—arguing that they articulate a model of masculinity that sustained generations but is now under siege. Not All Dead White Men reveals that some of the most controversial and consequential debates about the legacy of the ancients are raging not in universities but online.“A chilling account of trolling, misogyny, racism, and bad history proliferated online by the Alt-Right… Zuckerberg makes a persuasive case for why we need a new, more critical, and less comfortable relationship between the ancient and modern worlds in this important and very timely book.”—Emily Wilson, translator of The Odyssey“Explores how ideas about Ancient Greece and Rome are used and misused by antifeminist thinkers today.”—Time“Zuckerberg presciently analyzes these communities’…embrace of stoicism as a self-help tool to gain confidence, jobs, and girlfriends. Their adoration of men like Marcus Aurelius, Epictetus, and Ovid…is founded in a limited and distorted interpretation of ancient philosophy…lending heft and authority to sexism and abuse.”—The Nation“Traces the application—and misapplication—of classical authors and texts in online communities that see feminism as a threat.”—Bitch Media

A disturbing expose of how today's alt-right men's groups use ancient sources to promote a new brand of toxic masculinity online.A virulent strain of antifeminism is thriving online that treats women's empowerment as a mortal threat to men and to the integrity of Western civilization. Its proponents cite ancient Greek and Latin texts to support their claims-arguing that they articulate a model of masculinity that sustained generations but is now under siege.Donna Zuckerberg dives deep into the virtual communities of the far right, where men lament their loss of power and privilege, and strategize about how to reclaim them. She finds, mixed in with weightlifting tips and misogynistic vitriol, the words of the Stoics deployed to support an ideal vision of masculine life. On other sites, pickup artists quote Ovid's Ars Amatoria to justify ignoring women's boundaries. By appropriating the Classics, these men lend a veneer of intellectual authority and ancient wisdom to their project of patriarchal white supremacy. In defense or retaliation, feminists have also taken up the Classics online, to counter the sanctioning of violence against women.Not All Dead White Men reveals that some of the most controversial and consequential debates about the legacy of the ancients are raging not in universities but online.

After one too many hostile dating app encounters, Alexandra Tweten set up the Instagram account @ByeFelipe, a place for women to protest the horrors of online dating, and to share stories and screenshots of their own experiences. Three years later, the account has become a forum where women can fight back against the men who have made them uncomfortable, scared, and embarrassed--and to laugh at the appalling men they encounter.The name of Bye Felipe is a nod to the "Bye Felicia" meme, which Urban Dictionary defines as a cool dismissal of a noxious person. In that spirit, the book helps women navigate the perils that come with swiping right and provides practical steps to overcome the harassment rampant in the dating app ether. Blending humor, feminist theory, and solidarity, this "field guide" provides profiles of the worst types of guys (also known as "Felipes")--from the classic fat shamer to the mansplainer to the surprise sociopath--answers questions like "How do I react when a guy sends me a dic pic?," and gives women the tools they need to take control of their dating life. With stories, screenshots, and Riot Grrrl-esque graphic art throughout, Bye Felipe empowers women to stand up for themselves and uphold the confidence and self-worth Felipes try so desperately to steal.

Graeme Bezanson’s debut collection, Ultra Blue, is a book-length sequence of poems about the emotional lives of boys and the challenges of growing up within contemporary constructions of masculinity.“The truth no one wants to name,” writes bell hooks, “is that all boys are being raised to be killers even if they learn to hide the killer within.” These intense, insistently strange poems developed from Bezanson's struggles with guiding his young son through a culture of toxic masculinity and violence. This is work in dialogue with existing texts of boyhood and masculinity, in particular Jean-Jacques Rousseau’s Emile. The book’s three main sections make up a kind of fractured reader’s diary, broken up by two interludes of “divinations” – sparser erasure poems made using the changing positions of Elon Musk’s Starlink satellites to pick words from the transcript of an interview between self-proclaimed proponents of toxic masculinity Tucker Carlson and Andrew Tate. By processing existing texts and recasting them into a present, personal moment, Ultra Blue navigates the joy, despair, vivid arcana, and routine violence of boyhood under Western patriarchy.