Michael J. Shapiro – författare

Presuming that the problem of political equality, as it bears on both persons and assemblages, is about being accorded access to the material and symbolic resources needed to manage an effective civic presence, Michael J. Shapiro's critical interventions engage the way aesthetic genres illustrate this problem. Addressing literary, cinematic, photographic, musical, art historical, and architectural compositions, Shapiro's inquiries encounter the way a wide variety of texts elevate voices, bodies, and life dramas that have existed below thresholds of recognition.In Aesthetics of Equality, Shapiro offers a guide to aesthetic methods that emphasize the way writing strategies engage diverse artistic genres to articulate political problems. Emphasizing relationships between compositional form and ideational commitment, while focusing on the texts' protagonists (aesthetic subjects), the analyses cover a wide variety of spaces and historical moments in scenes ranging from ancient Israel and Egypt in the Old Testament's Genesis to the ethno-histories of California and Texas, with attention on the right to urban space in such megacities as Paris, New York, Los Angeles, and Istanbul.

Presuming that the problem of political equality, as it bears on both persons and assemblages, is about being accorded access to the material and symbolic resources needed to manage an effective civic presence, Michael J. Shapiro's critical interventions engage the way aesthetic genres illustrate this problem. Addressing literary, cinematic, photographic, musical, art historical, and architectural compositions, Shapiro's inquiries encounter the way a wide variety of texts elevate voices, bodies, and life dramas that have existed below thresholds of recognition.In Aesthetics of Equality, Shapiro offers a guide to aesthetic methods that emphasize the way writing strategies engage diverse artistic genres to articulate political problems. Emphasizing relationships between compositional form and ideational commitment, while focusing on the texts' protagonists (aesthetic subjects), the analyses cover a wide variety of spaces and historical moments in scenes ranging from ancient Israel and Egypt in the Old Testament's Genesis to the ethno-histories of California and Texas, with attention on the right to urban space in such megacities as Paris, New York, Los Angeles, and Istanbul.

Thinking Outside the Canon traces author Michael J. Shapiro's intellectual journey as a political theorist who has adapted multidisciplinary practices and unconventional texts across his career to develop a more diverse model of doing theory. Theorizing textuality and historiography, Shapiro draws on a variety of disciplinary idioms and texts that span across genres and geographies, ranging from Caribbean fiction to Ukraine war fictional ethnographies. As well, he covers an array of scales and spaces, from the state to the individual room. As such, Thinking Outside the Canon reflects how the field of political theory has grown and shifted through the author's own textual odyssey.After recovering the early portion of his own political theory odyssey, Shapiro traces his departures from the canon. He recounts how, through this departure, he refashioned his scholarship via a series of textual engagements and composed the basis of an instructional inquiry focused on textuality and historiography. Finally, Shapiro relates how Thinking Outside the Canon functions as his own learning text, as both a theorist and writer and as a student, looking towards the future of the political theory canon and its usefulness.

Thinking Outside the Canon traces author Michael J. Shapiro's intellectual journey as a political theorist who has adapted multidisciplinary practices and unconventional texts across his career to develop a more diverse model of doing theory. Theorizing textuality and historiography, Shapiro draws on a variety of disciplinary idioms and texts that span across genres and geographies, ranging from Caribbean fiction to Ukraine war fictional ethnographies. As well, he covers an array of scales and spaces, from the state to the individual room. As such, Thinking Outside the Canon reflects how the field of political theory has grown and shifted through the author's own textual odyssey.After recovering the early portion of his own political theory odyssey, Shapiro traces his departures from the canon. He recounts how, through this departure, he refashioned his scholarship via a series of textual engagements and composed the basis of an instructional inquiry focused on textuality and historiography. Finally, Shapiro relates how Thinking Outside the Canon functions as his own learning text, as both a theorist and writer and as a student, looking towards the future of the political theory canon and its usefulness.

Responding to the question, "What can a multi-genre approach to historiography contribute to political inquiry?", the textual itineraries in the book's chapters juxtapose macropolitical narratives^—^official geopolitical, state-sponsored history^—^with the micropolitical expressions of those who have been subjected to a continuum running from neglect, through dispossession, to genocide. With a focus on artistic media, which turn abstractions into personal and interpersonal dramas, composed with attention to the diversity and potency of objects of experience, the politically attuned historiographies analysed in Shapiro's investigations span literature, film, painting, music, gardening, architecture, and comic books. The Politics of Historiography explores diverse historiographic inquiries: from analysis of Christopher Nolan's film Oppenheimer to sonic strategies in books and films, to a combination of media genres that treat oceans, gardens, architecture, and graphic novels (as well as other visual media). The inquiry ends with a coda that focuses on the issue of witnessing, specifically examining the resurgence of racism inherent in official and popular anti-immigration positions, the growing possibility of nuclear annihilation, and the historiographic issue of historical “proof”.

To understand the historical complexity of the Pakistan–Afghanistan borderland, this book brings together some of the foremost thinkers of this borderland and seeks to approach its various problematic dimensions.This book presents an overview of the geopolitics of the Pakistan–Afghanistan borderland and approaches the topic from different methods and perspectives. It focuses on some of the least debated dimensions of this borderland, for instance, the status of women in the tribal-border culture, the legal status of aliens in the making of the border, material and immaterial manifestations of the border, political aesthetics of the border, and the identity crisis on the border. Given the fact that its authors come from diverse backgrounds, academic and geographic, they make an enriching contribution. Employing their expertise in different theories and methods, they focus on local memories, literature, and wisdom to understand the border. This book seeks to give voice to the plight of local tribal people, their culture, and land on an advanced academic level and makes it legible for the international audience.The chapters in this book were originally published as a special issue of the journal Geopolitics.

To understand the historical complexity of the Pakistan–Afghanistan borderland, this book brings together some of the foremost thinkers of this borderland and seeks to approach its various problematic dimensions.This book presents an overview of the geopolitics of the Pakistan–Afghanistan borderland and approaches the topic from different methods and perspectives. It focuses on some of the least debated dimensions of this borderland, for instance, the status of women in the tribal-border culture, the legal status of aliens in the making of the border, material and immaterial manifestations of the border, political aesthetics of the border, and the identity crisis on the border. Given the fact that its authors come from diverse backgrounds, academic and geographic, they make an enriching contribution. Employing their expertise in different theories and methods, they focus on local memories, literature, and wisdom to understand the border. This book seeks to give voice to the plight of local tribal people, their culture, and land on an advanced academic level and makes it legible for the international audience.The chapters in this book were originally published as a special issue of the journal Geopolitics.

Writing Politics is a methods book designed to instruct on politically focused literary inquiry.Exploring the political sensibilities that arise from the way literary fiction re-textualizes historical periods and events, the book features a series of violence-themed inquiries that emphasize forms of writing as the vehicles for politically attuned historiography. Each investigation treats the way the literary genre, within historiographic metafiction, enables political inquiry. It’s a form of writing that inter-articulates history and fiction to rework a textual past and unsettle dominant understandings of events and situations. Central to the diverse chapters are fictional treatments of authoritarian, fascist, or zealous mentalities. Featured, for example, are Radovan Karadzic (the architect of the Bosnian genocide), Reinhard Heydrich (the architect of the Holocaust’s "final solution"), and the Trotsky assassin Ramon Mercader.Michael J. Shapiro has produced another original and sophisticated bookshelf staple; the only contemporary investigation in Political Studies that instructs on method in this way.

Writing Politics is a methods book designed to instruct on politically focused literary inquiry.Exploring the political sensibilities that arise from the way literary fiction re-textualizes historical periods and events, the book features a series of violence-themed inquiries that emphasize forms of writing as the vehicles for politically attuned historiography. Each investigation treats the way the literary genre, within historiographic metafiction, enables political inquiry. It’s a form of writing that inter-articulates history and fiction to rework a textual past and unsettle dominant understandings of events and situations. Central to the diverse chapters are fictional treatments of authoritarian, fascist, or zealous mentalities. Featured, for example, are Radovan Karadzic (the architect of the Bosnian genocide), Reinhard Heydrich (the architect of the Holocaust’s "final solution"), and the Trotsky assassin Ramon Mercader.Michael J. Shapiro has produced another original and sophisticated bookshelf staple; the only contemporary investigation in Political Studies that instructs on method in this way.

In recent years, film has been one of the major genres within which the imaginaries involved in mapping the geopolitical world have been represented and reflected upon. In this book, one of America's foremost theorists of culture and politics treats those aspects of the "geopolitical aesthetic" that must be addressed in light of both the post cold war and post 9/11 world and contemporary film theory and philosophy. Beginning with an account of his experience as a juror at film festival’s, Michael J. Shapiro’s Cinematic Geopolitics analyzes the ways in which film festival space and both feature and documentary films function as counter-spaces to the contemporary "violent cartography" occasioned by governmental policy, especially the current "war on terror." Influenced by the cinema-philosophy relationship developed by Gilles Deleuze and the politics of aesthetics thinking of Jacques Ranciere, the book’s chapters examines a range of films from established classics like the Deer Hunter and the Battle of Algiers to contemporary films such as Dirty Pretty Things and the Fog of War. Shapiro’s use of philosophical and theoretical works makes this cutting edge examination of film and politics essential reading for all students and scholars with an interest in film and politics.

In recent years, film has been one of the major genres within which the imaginaries involved in mapping the geopolitical world have been represented and reflected upon. In this book, one of America's foremost theorists of culture and politics treats those aspects of the "geopolitical aesthetic" that must be addressed in light of both the post cold war and post 9/11 world and contemporary film theory and philosophy. Beginning with an account of his experience as a juror at film festival’s, Michael J. Shapiro’s Cinematic Geopolitics analyzes the ways in which film festival space and both feature and documentary films function as counter-spaces to the contemporary "violent cartography" occasioned by governmental policy, especially the current "war on terror." Influenced by the cinema-philosophy relationship developed by Gilles Deleuze and the politics of aesthetics thinking of Jacques Ranciere, the book’s chapters examines a range of films from established classics like the Deer Hunter and the Battle of Algiers to contemporary films such as Dirty Pretty Things and the Fog of War. Shapiro’s use of philosophical and theoretical works makes this cutting edge examination of film and politics essential reading for all students and scholars with an interest in film and politics.

The Politics of Moralizing issues a stern warning about the risks of speaking, writing, and thinking in a manner too confident about one's own judgments and asks, "Can a clear line be drawn between dogmatism and simple certainty and indignation?" Bennett and Shapiro enter the debate by questioning what has become a popular, even pervasive, cultural narrative told by both the left and the right: the story of the West's moral decline, degeneration, or confusion. Contributors explore the dynamics and dilemmas of moralizing by advocates of patriotism, environmental protection, and women's rights while arguing that the current discourse gives free license to self-aggrandizement, cruelty, vengeance and punitiveness and a generalized resistance to or abjection of diversity.

Methods and Nations critiques one of the primary deployments of twentieth-century social science: comparative politics whose major focus has been "nation-building" in the "Third World," often attempting to universalize and render self-evident its own practices. International relations theorists, unable to resist the "cognitive imperialism" of a state-centric social science, have allowed themselves to become colonized. Michael Shapiro seeks to bring recognition to forms of political expression-alternative modes of intelligibility for things, people, and spaces-that have existed on the margins of the nationhood practices of states and the complicit nation-sustaining conceits of social science.

Methods and Nations critiques one of the primary deployments of twentieth-century social science: comparative politics whose major focus has been "nation-building" in the "Third World," often attempting to universalize and render self-evident its own practices. International relations theorists, unable to resist the "cognitive imperialism" of a state-centric social science, have allowed themselves to become colonized. Michael Shapiro seeks to bring recognition to forms of political expression-alternative modes of intelligibility for things, people, and spaces-that have existed on the margins of the nationhood practices of states and the complicit nation-sustaining conceits of social science.

For International Relations scholars, discussions of globalization inevitably turn to questions of sovereignty. How much control does a country have over its borders, people and economy? Where does that authority come from? Sovereign Lives explores these changes through reading of humanitarian intervention, human rights discourses, securitization, refugees, the fragmentation of identities and the practices of development.

For International Relations scholars, discussions of globalization inevitably turn to questions of sovereignty. How much control does a country have over its borders, people and economy? Where does that authority come from? Sovereign Lives explores these changes through reading of humanitarian intervention, human rights discourses, securitization, refugees, the fragmentation of identities and the practices of development.

What do we know about war crimes and justice? What are the discursive practices through which the dominant images of war crimes, atrocity and justice are understood?In this wide ranging text, Michael J. Shapiro contrasts the justice-related imagery of the war crimes trial (for example the solitary, headphone-wearing defendant at the Hague listening with intent to a catalogue of charges) with ?literary justice?: representations in literature, film, and biographical testimony, raising questions about atrocities and justice that juridical proceedings exclude.By engaging with the ambiguities exposed by the artistic and experiential genres, reading them alongside policy and archival documentation and critical theoretical discourses, Shapiro?s War Crimes, Atrocity, and Justice challenges traditional notions of ?responsibility? in juridical settings. His comparative readings instead encourage a focus on the conditions of possibility for war crimes as they arise from the actions of states, non-state agencies and individuals involved in arms trading, peace keeping, sex trafficking, and law enforcement and adjudication. Theory springs to life as Shapiro draws on examples from legal discourse, literature, media, film, and television, to build a nuanced picture of politics and the problem of justice. It will be of great interest to students of film and media, literature, cultural studies, contemporary philosophy and political science

What do we know about war crimes and justice? What are the discursive practices through which the dominant images of war crimes, atrocity and justice are understood?In this wide ranging text, Michael J. Shapiro contrasts the justice-related imagery of the war crimes trial (for example the solitary, headphone-wearing defendant at the Hague listening with intent to a catalogue of charges) with ?literary justice?: representations in literature, film, and biographical testimony, raising questions about atrocities and justice that juridical proceedings exclude.By engaging with the ambiguities exposed by the artistic and experiential genres, reading them alongside policy and archival documentation and critical theoretical discourses, Shapiro?s War Crimes, Atrocity, and Justice challenges traditional notions of ?responsibility? in juridical settings. His comparative readings instead encourage a focus on the conditions of possibility for war crimes as they arise from the actions of states, non-state agencies and individuals involved in arms trading, peace keeping, sex trafficking, and law enforcement and adjudication. Theory springs to life as Shapiro draws on examples from legal discourse, literature, media, film, and television, to build a nuanced picture of politics and the problem of justice. It will be of great interest to students of film and media, literature, cultural studies, contemporary philosophy and political science

In Cinematic Political Thought, Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics.

In Cinematic Political Thought, Michael J. Shapiro investigates aspects of contemporary politics and articulates a critical philosophical perspective with politically disposed treatments of contemporary cinema. Reading such films as Hoop Dreams, Lone Star, Father of the Bride II and To Live and Die in LA through the lens of Deleuze, Derrida, Foucault and Lyotard, Shapiro demonstrates what it can mean to think the political both in terms of cinema studies and in wider aesthetic and social contexts. Cinematic Political Thought is a polemical work, aimed at encouraging critical, ethical and political thinking. Its breadth of theoretical scope and empirical reference, and the innovative style of presentation will make it vital reading for anyone with an interest in the conjunction of culture and politics.

In The Political Sublime Michael J. Shapiro formulates an original politics of aesthetics through an analysis of the experience of the sublime. Turning away from Kant's analysis of the sublime experience as a validation of the existence of a universal common sense, Shapiro draws on Deleuze, Lyotard, and RanciÈre to show how incomprehensible events and dilemmas provide openings for new political formations. He approaches the sublime through a range of artistic and cultural texts that address social crises and natural disasters, from the writing of James Baldwin and Ta-Nehisi Coates to the films of Ingmar Bergman and Spike Lee; these works suggest ways to channel the disruptive effects of the sublime into resistance to authority and innovative political initiative. Whether stemming from the threat of nuclear annihilation or the aftermath of an earthquake, the violence of racism and terrorism or the devastation of industrialism, sublime experience, Shapiro contends, allows for a rethinking of events in ways that reveal, redistribute, and create conditions of possibility for alternative communities of sense.

In The Political Sublime Michael J. Shapiro formulates an original politics of aesthetics through an analysis of the experience of the sublime. Turning away from Kant's analysis of the sublime experience as a validation of the existence of a universal common sense, Shapiro draws on Deleuze, Lyotard, and RanciÈre to show how incomprehensible events and dilemmas provide openings for new political formations. He approaches the sublime through a range of artistic and cultural texts that address social crises and natural disasters, from the writing of James Baldwin and Ta-Nehisi Coates to the films of Ingmar Bergman and Spike Lee; these works suggest ways to channel the disruptive effects of the sublime into resistance to authority and innovative political initiative. Whether stemming from the threat of nuclear annihilation or the aftermath of an earthquake, the violence of racism and terrorism or the devastation of industrialism, sublime experience, Shapiro contends, allows for a rethinking of events in ways that reveal, redistribute, and create conditions of possibility for alternative communities of sense.

Deforming American Political Thought offers an alternative to the dominant American historical imagination, treating issues that range from the nature of Thomas Jefferson's vision of an egalitarian nation to the persistence of racial inequality. Presenting multifaceted arguments that transcend the myopic scope of traditional political discourses, Michael J. Shapiro summons disparate disciplines and genres – architecture, crime stories, novels, films, and jazz/blues music (among others) to provide approaches to the comprehension of diverse facets of American political thought from the founding to the present. The book’s various investigations disclose that there have always been dissenting voices, articulated in diverse genres of expression that cast doubt on the moral purpose and exceptionalism of the American mind. This highly anticipated updated second edition features a preface focusing on aesthetic theory and the contributions of artistic genres for political analysis, and a completely new chapter on critical thinking about the US western and urban encounters afforded by the two HBO series, Deadwood and The Wire respectively.

Deforming American Political Thought offers an alternative to the dominant American historical imagination, treating issues that range from the nature of Thomas Jefferson's vision of an egalitarian nation to the persistence of racial inequality. Presenting multifaceted arguments that transcend the myopic scope of traditional political discourses, Michael J. Shapiro summons disparate disciplines and genres – architecture, crime stories, novels, films, and jazz/blues music (among others) to provide approaches to the comprehension of diverse facets of American political thought from the founding to the present. The book’s various investigations disclose that there have always been dissenting voices, articulated in diverse genres of expression that cast doubt on the moral purpose and exceptionalism of the American mind. This highly anticipated updated second edition features a preface focusing on aesthetic theory and the contributions of artistic genres for political analysis, and a completely new chapter on critical thinking about the US western and urban encounters afforded by the two HBO series, Deadwood and The Wire respectively.

In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.

In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art – and in particular literature and film – can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology.

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art – and in particular literature and film – can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology.

Focused both thematically and methodologically on diverse aspects of civic life, this book elucidates the mentalities and forces involved in the way individuals and collectives negotiate ways of being in common. The chapters feature critical interventions into the civic lives of grief, of things, of Blackness, and of trans identity.With an emphasis on the historiographic contributions of literature, film, objects and embodied memories of events, Shapiro's textual analyses treat the way artistic genres supply the critical thinking needed to encourage a more egalitarian and convivial life world.