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The Marxist conception of the division between mental and manual labor is a critical yet unrecognized aspect of contemporary political struggles.
Departing from this novel argument, Michael Bray traces the conceptual and socio-political history of this labor division and emphasizes how the forms of control and organization articulated by that division in practices of production, democracy, racialization, and financialization are becoming increasingly important. Critiquing the left for its tendency to side implicitly with the powers of mental labor, Michael Bray shows that comprehending and challenging those powers is a pivotal task for anti-capitalist politics today.

Ethnic diversity, race, and racism have been subject to discussion in American Studies departments at German universities for many years. It appears that especially in the past few decades, ethnic minorities and 'new immigrants' have increasingly become objects of scholarly inquiry. Such research questions focus on the U.S. and other traditionally multicultural societies that have emerged out of historical situations shaped by (settler) colonialism, slavery, and/or large-scale immigration. Paradoxically, these studies have overwhelmingly been conducted by white scholars born in Germany and holding German citizenship. Scholars with actual experience of racial discrimination have remained largely unheard.
Departing from a critique of practices employed by the German branch of American Studies, the volume offers (self-)reflective approaches by scholars from different fields in the German Humanities. It thereby seeks to provide a solid basis for thorough and candid discussions of the mechanisms behind and the implications of racialized power relations in the German Humanities and German society at large.

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, pop, bluegrass, flamenco, funk, disco, and hip-hop, among others.
This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.

The documentary My heart of Darkness (Sweden 2011) tells the story of a South-African paratrooper returning to Angola: Facing former enemies, he tries to regain mental health and reconciliation.
The film marks the stepping-stone for this volume: The contributions examine different facets like the memory-discourse, genre aspects, the use of music, and authentification processes. Several texts discuss these topics in a more general way including other films. Furthermore, some articles are devoted to the historical context, i.e. the Angolan Civil War and the aftermath of this conflict in the cultural sphere.

The journal "movements" collects academic, activist and artistic output that deals with migration and border regimes. It fosters exchange between academic discourse and the movements of migration, and thus allows for political debate about our societies in motion.
This issue discusses the current developments of the Turkish migration and border regime in relation to EUropean migration policies. The contributions analyze the so called EU-Turkey Deal and its implications on politics and society in Turkey and its neighborhood as well as the living conditions of asylum seekers and migrants in Turkey.
"movements" is published in print with transcript and online (open access) at www.movements-journal.org.

The time to come – as well as the exploration thereof – remains elusive for social actors and social scientists alike.
The contributors accept the challenge to depict young men and women's future-creating activities in urban contexts of sub-Saharan Africa. Very consciously, they study young graduates having obtained a university degree and provide a vivid picture of their strategies to socially grow older by doing adulthood in contexts of great uncertainty.
The examples include Burkina Faso, Guinea, Ethiopia, Mali and Tanzania, visually enriched through pictures taken by young Malian photographers.

In the past decades, children of immigrants have drawn increased attention not only in press and media, but also in a number of academic fields, among them sociology, history, or ethnology. Surprisingly, literary and cultural studies have been somewhat more reluctant to approach the topic. While there is work on individual authors or, at the very most, particular ethnic groups, comparative approaches are rare.
This monograph aims to amend this. It provides an extensive discussion of US-American literature about children of immigrants, comparing different authors, different ethnic groups and different literary and historical contexts.

»Digital Culture & Society« is a refereed, international journal, fostering discussion about the ways in which digital technologies, platforms and applications reconfigure daily lives and practices. It offers a forum for critical analysis and inquiries into digital media theory and provides a publication environment for interdisciplinary research approaches, contemporary theory developments and methodological innovation.
This issue, edited by Anna Lisa Ramella, Asko Lehmuskallio, Tristan Thielmann and Pablo Abend, discusses the mobility of people, data and devices from the perspective of digital mobile practices. As the authors of various empirical case studies show, these need to be studied both situationally, and on the move.
With contributions by Marion Schulze, Jamie Coates, Geoffrey Hobbis, Samuel Gerald Collins, among others, and an interview with Heather Horst, David Morley, and Noel B. Salazar.

Due to computers' ability to combine different semiotic modes, texts are no longer exclusively comprised of static images and mute words. How have digital media changed the way we write and read? What methods of textual and data analysis have emerged? How do we rescue digital artifacts from obsolescence? And how can digital media be used or taught inside classrooms?
These and other questions are addressed in this volume that assembles contributions by artists, writers, scholars and editors such as Dene Grigar, Sandy Baldwin, Carlos Reis, and Frieder Nake. They offer a multiperspectival view on the way digital media have changed our notion of textuality.

This book deals with various facets of the human right to health: its normative profile as a universal right, current political and legal conflicts and contextualized implementation in different healthcare systems. The authors come from different countries and disciplines – law, political science, ethics, medicine etc. – and bring together a broad variety of academic and practical perspectives.
The volume contains selected contributions of the international conference "The Right to Health - an Empty Promise?" held in September 2015 in Berlin and organized by the Emerging Field Initiative Project "Human Rights in Healthcare" (University of Erlangen-Nürnberg).

After years of military interventions, the current situation in Afghanistan is highly ambivalent and partially contradictory – especially regarding the interplay of development, peace, security, education, and economy. Despite numerous initiatives, Afghanistan is still confronted with a poor security and economic condition. At the same time, enrollment numbers in schools and universities as well as the rate of academics reached a historical peak.
This volume investigates the tension between these ambivalent developments. Sociologists, political and cultural scientists along with development workers, educators, and artists from Germany and Afghanistan discuss the idea that education is primary for rebuilding a stable Afghan state and government.

Forgeries are an omnipresent part of our culture and closely related to traditional ideas of authenticity, legality, authorship, creativity, and innovation. Based on the concept of mimesis, this volume illustrates how forgeries must be understood as autonomous aesthetic practices – creative acts in themselves – rather than as mere rip-offs of an original work of art.
The proceedings bring together research from different scholarly fields. They focus on various mimetic practices such as pseudo-translations, imposters, identity theft, and hoaxes in different artistic and historic contexts. By opening up the scope of the aesthetic implications of fakes, this anthology aims to consolidate forging as an autonomous method of creation.

The integration of audible space is a central aspect of electroacoustic music. Ever since the earliest analogue days of electroacoustic music, pioneers of the genre – including Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen, and Luigi Nono – used special devices and methods for their compositions and refined the possibilities of integrating the sound of space into music.
In this anthology, analytical portraits of compositions and groups of compositions show the wide spectrum of spatial practices in early electroacoustic music. Additionally, retrospective views on the use of spatial composition in earlier epochs and in instrumental music of the 20th century portray the practice of spatial composition in different eras and genres, as well as the universality of spatial music as a topic. In this way the book contributes to a more differentiated understanding of the term »spatial music«.

Die Integration des hörbaren Raums ist ein zentraler Aspekt der elektroakustischen Musik. Schon auf Basis der Analogtechnik entstanden spezielle Geräte und Verfahren, die Pioniere des Genres wie Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen oder Luigi Nono für ihre Vorstellungen von Raummusik heranzogen und weiter entwickelten.
In diesem Band, der englisch- und deutschsprachige Beiträge gleichermaßen versammelt, zeigen analytische Portraits einzelner Kompositionen oder Kompositionsgruppen das breite Spektrum spatialer Praktiken in der frühen elektroakustischen Musik. Geschichtliche Rückblicke auf spatiale Kompositionsweisen früherer Epochen bis hin zur instrumentalen Musik des 20. Jahrhunderts stellen den epochen- und genrespezifischen Umgang mit Raum dar und belegen nicht nur die Universalität des Themas Raummusik, sondern leisten auch einen Beitrag zu deren begrifflicher Differenzierung.