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The presence of Filipinos as corporeal and discursive subjects within both America and Asian America has long been contested. On one hand, the dynamic juridical status of Filipinos in America has ranged from American colonial subjects and American nationals to naturalized and native-born citizens. On the other hand, the presence of Filipinos in America has provided labor in key industries from agriculture to nursing. Filipino America has always been a transnational social formation whose history, economy, and culture reflect the interrelated histories of the Philippines and the United States. This essay explores Filipino American aesthetic practices that engage with the corporeal and discursive production of the "Filipino" in both America and Filipino America. The essay investigates the implications of Filipino American visual art and artists "returning" to the Philippines and argues that a cultural logic of "fictions of return" forms a central part of the production of Filipino America as a transnational sociospatial formation. The first section discusses the production of Filipino America in the context of America's exhibitionary complex. The article proceeds to trace exhibitionary practices in the transnational art project Galleon Trade Arts Exchange. The article then discusses works by Christine Wong Yap, Stephanie Syjuco, Reanne Estrada, and Gina Osterloh to highlight how Filipino American visual art has critically engaged with the multiple contradictions within Filipino and Filipino American experiences. The article ends with a rumination on the relationship between cultural production and desire to return and belong.

The black woman's body in the Americas, and in the global South more generally, vexes and makes visible different valences of labor: the production of commodities and the reproduction of bodies that become commodities. Situating her novel, Midnight Robber (2000), in a speculative future space allusively linked to Caribbean histories of maroonage and anti-colonial resistance, Nalo Hopkinson traces the relationship among the black woman's body, reproduction, production, and materiality. The physicality of bodies is productively linked to resistance against the coercive cybernetic strategies of the decentralized artificial intelligence network (the Nanny web) that biopolitically regulates the population on its new planetary home of Toussaint. In a final scene that promises investment in a material economy drawn from local resources and sustained by a proliferation of resistance narratives featuring a creolized figure who combines maroonage and carnival tactics, Midnight Robber imagines a new possibility for living that negotiates between Caribbean localities linked to material production and mobile, inter-planetary networks linked to discursive production.

"Why and how do issues expire? This paper applies the concept of path dependency to issue-life cycle and argues that the manner in which an issue dies is closely associated with how it comes to life. This paper argues that, on the Access to Medicines issue, the first actors (1) to have called attention to a legal problem, (2) to have capitalised on the HIV/AIDs crisis, and (3) to have used the example of Africa, were also the first to have felt constrained by their own frame in their attempt to (1) look for economical rather than legal solutions, (2) expand the list of medicines covered beyond anti-AIDs drugs, and (3) allow large emerging economies to benefit from a scheme designed by countries without manufacturing capacities. In order to escape an issue in which they felt entrapped, issue-entrepreneurs worked strategically to close the debate in order to better reframe it in other forums."

"The introductory essay offers a brief overview of current trends in critical globalization studies and international relations scholarship that shed light on three intersections: between imperialism and humanitarianism, between neoliberal globalization and "rescue industry" transnationalism, and between patterns of geopolitical hegemony and trajectories of peacekeeping internationalism. These research agendas have been generative and politically useful, but have tended to neglect the forms of humanitarian and peacekeeping agency emanating from the global south. In order to address this gap, this introduction lays out a new research agenda that combines interdisciplinary methods from global studies, gender and race studies, critical security studies, police and military sociology, Third World diplomatic history, and international relations. This introduction also theoretically situates the other contributions and case studies gathered here, providing a framework of analysis that groups them into three clusters: (I) Globalizing Peacekeeper Identities, (II) Assertive "Regional Internationalisms," and (III) Emergent Alternative Paradigms."

"This essay seeks to explain the persistent representation of affect and the senses in the cultural narrative of globalization. The author proposes that we are currently witnessing an epistemic shift from reason to affect, a shift that may be traced to the birth of free-market capitalism in the age of revolution (though it has only become fully hegemonic in the post-Soviet period of neoliberal globalization). This gave rise, she argues, to a new cultural discourse in which horizontal capital flow replaced vertical monarchical fiat as the principal vehicle for the definition of social order and the limits of knowledge. Through analyses of eighteenth- and twenty-first-century cultural texts, she posits that this new cultural discourse, germane to free-market capitalism, is best understood as epistemically governed by the affective concept of a "headless" feeling soma self-regulated by homeostatic principle-that is, a harmonious and nonrational self-governance-and no longer by a thinking mind governed by reason in a vertical relationship with a subject-body. If the current cultural moment of global capital and media has been repeatedly characterized as "posttheory," then this essay identifies a new social logic that has become visible but not yet critically apprehended in the era of unchallenged globalization. The author proposes a way to read that logic as ciphered in contemporary cultural media as an emotional aesthetics of social protagonism and politics."

Although the Korean developmental state has been heavily discussed in various disciplines and across diverse political spectrums, the statist notion that the developmental state is autonomous from and disciplines society, and is therefore effective in achieving 'national development', has more often been taken for granted than problematised. Statism is also pervasive in institutionalism that emphasises the linkages rather than dichotomies between state and market and in the recent discussions on the transformation of the developmental state. This article proposes an alternative conceptual framework by reformulating 'the form critique of the state' pioneered by Evgeny Pashukanis and further developed in the 'German state derivation debate' on the one hand, and 'world system analysis' on the other. Extending the Marxist critique of 'commodity fetishism' to the theorisation of the developmental state, it inquires into the origins of statism and argues that it is the uneven dynamics of capitalism as a global system that give rise to statism in the first place.

"This essay analyzes the cultural functions of Frankenstein as a figure of globalization in postcolonial popular culture. Focusing on the case of Canadian film production, I begin by contextualizing Canadian film as a postcolonial site of globalized popular culture, characterized by 'technological nationalism'. In this context, I consider three Canadian films that adapt Mary Shelley's Frankenstein to represent globalization. David Cronenberg's Videodrome (1983) borrows from Frankenstein and Marshall McLuhan to critique new media in the 'global village'; Robert Lepage's Possible Worlds (2000) quotes from the Universal Frankenstein film; and Mark Achbar and Jennifer Abbot's The Corporation (2003) uses Frankenstein as a recurring analogy for the modern corporation. This essay signals a starting point for a more interculturally and transnationally comparative investigation of how Frankenstein adaptations provide a powerful repertoire of representational devices for a postcolonial theory of globalization"

The purpose of this article is to analyse one of the very first European-level instances of trade union and social movement interaction in defence of the public sector, namely, the Coalition for Green and Social Procurement, an alliance of European trade unions and green and social non-governmental organisations (NGOs), and its campaign for an amendment of the new public procurement directives from 2000 to 2003. It will be examined to what extent this campaign was able to change the directives and counter neoliberal restructuring effectively as well as what the possibilities but also limits of trade union and social movement cooperation are as exemplified in this particular case study.

I am very grateful to all of the contributors to this symposium - Emily Eaton; Julie Guthman; Nik Heynen, Peter Hossler and Andrew Herod; and Mazen Labban - for their generosity, not just in taking time to pass comment on Uneven Development (UD) but to do so with such critical magnanimity. I will resist the temptation to respond to most of the points but let me begin with a couple of engagements addressed directly to the comments, before taking a wider view. This article briefly picks up on several comments made in this exchange concerning the book Uneven Development, then raises several issues that emerge from the original arguments and extend the theory in light of empirical shifts over the last quarter of a century.

Uneven Development endeavours to derive a theory of uneven geographical development by putting in motion a 'historical dialogue' between Marx's critical theorisation of capitalism and the geograhical reality of capitalism at the close of the twentieth century, and by theorising the relations between material nature and the spatial dynamics of capitalist accumulation. The result, however, is a theory of uneven development predicated on a logical rather than a historical conception of capitalism, which furthermore supersedes the question of the production of nature in conceptualising the spatial dynamics of (contemporary) capitalism. This article argues for a re-theorisation of uneven geographical development that considers the production of nature, namely extractive industry, as a point of departure in theorising the spatial dynamics of contemporary capitalist accumulation, focusing briefly on the concentration and centralisation of capital.

This article takes the 25th anniversary of Neil Smith's Uneven Development: Nature, Capital and the Production of Space as an opportunity to consider the seminal contributions the book has made for pushing scholars to more deeply consider the connections between the persistence of capitalism and social reproduction. Furthermore, we move on from this connection to consider the emancipatory ideas within Uneven Development and their connection to prompting new forms of revolutionary imagination and political possibility.

This commentary on Neil Smith's Uneven Development revisits his production of nature thesis and uses it as a jumping off point to explore how human bodies matter in contemporary capitalism. It argues that human bodies are increasingly subsumed within capitalism in ways that go beyond the roles of humans as labourers and purchasers of goods and services in a system of commodities producing commodities. Bodies are also treated as property, transportation and as conditions of production within circuits of capitalisms. Bodies also absorb the externalities and excesses of production and provide new spaces of accumulation in their degradation.

In the 1980s a group of mostly younger historians, coalescing around Ranajit Guha, launched Subaltern Studies. Originally conceived as a project to be sustained over three volumes, it outgrew its original ambitions, and recently published its twelfth volume. The early volumes of Subaltern Studies made a big splash in Indian historical circles, but their influence beyond these circles was limited; as Dipesh Chakrabarty was later to observe, while any historian of India was obliged to be conversant with aspects of the history of Europe, and was almost certain to have read Hobsbawm, Rude, Furet, Ginzburg and others, the reverse was not true. However, partly due to the publication of a selection of essays from the first five volumes, edited by Ranajit Guha and Gayatri Spivak, and with a Preface by Edward Said, the readership and influence of this intervention in Indian historiography expanded greatly. This accelerated the process of members of the Subaltern Studies collective using their Indian material not only to ask questions of Indian history, but also to engage with questions of wider, and often philosophical, import.