Cultural Studies - Published by Routledge

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Fossil Capital at Ten: Andreas Malm on Capitalism, Energy, and Resistance.” The bottom of the graphic then specifies the author and issue information: “Caleb Wellum, Imre Szeman, and Andreas Malm” and “Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “With the publication of Fossil Capital in 2016, Andreas Malm reshaped how scholars understand the relationship between capitalism and fossil fuels. Energy humanities scholars Caleb Wellum and Imre Szeman interviewed Malm in November 2024 about the arguments and impact of Fossil Capital, the development of his thought in several subsequent books, and the shifting landscape of climate politics. At a time when the stakes of climate politics have never been higher, Malm's work is indispensable. This interview provides an opportunity to revisit Fossil Capital in light of the past decade's developments while also exploring the more radical propositions his recent work has put forth.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “From the role of sabotage in climate activism to the geopolitical entanglements of energy politics, Malm dissects the complex forces obstructing climate action and explores the strategies that might still be able to disrupt them, however powerful they might be. Readers will find in this conversation reflections on Malm's intellectual evolution and a considered engagement with the urgent question that has animated his work: how to bring about the end of fossil capitalism before it brings about the end of all of us.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

“Fossil Capital at Ten: Andreas Malm on Capitalism, Energy, and Resistance” is the seventh and final article included in Issue 40.1. This contribution features the transcription of an interview with Andreas Malm, as facilitated by Caleb Wellum and Imre Szeman: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “The More, the Better: Queer Urban Spatialities of Seoul in Three Films.” The bottom of the graphic then specifies the author and issue information: “Hyung Kwon Choi and Jonathan Jae-an Crisman • Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “Queer space in South Korea’s primate city Seoul has historically remained excluded or invisible across multiple temporalities: in official histories and accounts of the past, in present urban life, and in planning for the future. This is especially noticeable in the municipal government’s numerous revitalization plans which focus on known ‘gayborhoods’ such as Jongno 3-ga. This article identifies and analyzes the structure of differing queer spatialities present in Seoul through close reading and examination of three films: the auteur produced A Cheonggyecheon Dog (2008), the realist documentary Miracle on Jongno Street (2010), and the archival art film Dadaikseon (2018).” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “In these filmic representations, we observe multiple spatialities in Seoul that reflect the precarity and isolation faced by queer individuals in processes of urban redevelopment, the Janus-faced nature of urban space during the night versus the day which can allow or inhibit queer collectivity, and the dynamic erasure of urban spaces which fall outside of hegemonic norms in the face of urban change and gentrification. In the face of the homogenization of Seoul’s urban space, we argue that the identification of a multiplicity of queer spatialities opens up possibility and alternatives to dominant processes and patterns of urbanization, modernization and homogenization – that is, the more non-normative spatialities, the better.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

Hyung Kwon Choi and Jonathan Jae-an Crisman’s article “The More, the Better: Queer Urban Spatialities of Seoul in Three Films” is the sixth article featured in Volume 40, Issue 1 of Cultural Studies. Subscribers can read Choi and Crisman's work here: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “We Don’t Need a Map: On Australian Aboriginal Philosophy and Critique.” The bottom of the graphic then specifies the author and issue information: “Max Brierty • Volume 40, Issue 1 (2026)” and “Open Access Article.”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “The late Anangu artist Kunmanara (Mumu Mike) Williams wrote mapa wiya (‘We don’t need a map’) across a map of Australia as part of an attempt to unsettle the settler State. This essay draws on those words, mapa wiya, to think through the relationship between Aboriginal philosophy and strong Indigenous critique, and how their combination can be involved in unsettling and resurgence. It begins by considering the place of this philosophy within and beyond the academy, as something which is seen to both exist and not exist at the same time.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “It then draws a comparison between Aboriginal and European cosmologies, conceiving of their opposition and some possibilities that exist therein. Lastly, this essay argues for sustained Indigenous critique in the making of Aboriginal philosophy, which can respond to and seek to transform the political reality of Aboriginal people and the Country that they belong to.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

“We Don’t Need a Map: On Australian Aboriginal Philosophy and Critique” by Max Brierty is the third open access article included in Volume 40, Issue 1 of Cultural Studies. It can be read by all here: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Navigating the Troubles’ Tidelands: The Push and Pull of Memory in Post-Conflict Northern Ireland’s Film & Television Industry.” The bottom of the graphic then specifies the author and issue information: “Lennart Soberon •  Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “The screen representation of Northern Ireland has since long been a hotbed for issues of remembering and reimagining. Loaded with symbolic questions on authorship and authenticity, the treatment of the nation’s years of (para)military conflict, colloquially dubbed the ‘troubles’, remains a complex question for filmmakers and other creative agents. Considering film and television’s power to intervene in the collective memory and serve reconciliatory agendas helps to further understand screen media’s particularly poignant potential in the context of Northern Ireland’s post-conflict society. Yet apart from the socio-political, film and television representation doubles as an industry sensitive to certain commercial and institutional demands. Since the commercial success of HBO’s hit television show Game of Thrones, Northern Ireland has employed its screen industries as means of economic development and tourist rebranding.” The abstract is continued on the next image.

The third image is titled “Abstract (Continued),” and it features the second part of the abstract for the article: “Within this context, the role of the past remains a dubious one. Caught between past, present, and future filmmakers become instrumental actors in (re)imagining a country long associated with military occupation and terrorist violence. Departing from the commemorative tensions that stem forward from the intersection between the commercial and the political, this article undertook an ethnographic study that focuses on different modes of remembering in the context of Northern Ireland’s contemporary film and television industry. Based on over 50 in-depth interviews with directors, screenwriters, producers, distributors, activists, archivists, and (screen)institutional agents in research sites such as Belfast, Dublin, Derry, and beyond, the complex position of memory in post-conflict Northern Ireland’s screen industries is discussed.” The abstract is continued on the next image.

The fourth and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “The results of this research show how filmmakers are drawn towards and pushed away from the countries troubled past by various institutional, economical, ideological, and symbolic factors. Moreover, these creative actors engage in an affectively intimate and deeply symbolic negotiation of the stories they tell in relation to the longstanding legacy of Northern Ireland’s screen representation.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

The next article we would like to feature from Volume 40, Issue 1 is “Navigating the Troubles’ Tidelands: The Push and Pull of Memory in Post-Conflict Northern Ireland’s Film & Television Industry" by Lennart Soberon. Subscribers can read the article here: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Dangerous Memories and Entangled Temporalities: Irish Republicanism and the Postcolonial Politics of Time.” The bottom of the graphic then specifies the author and issue information: “Liam Farrell and Gary Hussey” and “Volume 40, Issue 1 (2026).”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “In this article we develop a ‘hauntological’ reading of republicanism in postcolonial Ireland. This reading takes as its object the ways in which the politics of remembering – and remembering republican politics in particular – is equally a politics of time. Exploring the politics of republicanism through the lens of entangled temporalities, we develop an understanding of a particular mode of political desire. This republican political desire holds open the demand for a radical interrogation of the (post)colonial given. As such, it takes the form of a ‘dangerous memory’. Through the concept of a ‘dangerous memory’, we excavate a certain republican politics of refusal, that haunts the legitimacy and automatic reproduction of the postcolonial settlement and the attendant proprietary relations of inequality that it formalizes – culturally, politically, economically and legally.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “This theoretical interpretation of Irish republican hauntology is empirically explored through three historical layers and entangled temporalities that are organized around the ghosts of Roger Casement, a radical republican figure. The dangerous memories of Casement not only disrupt the canonical or official interpretation of Irish republicanism, but also open up the left-republican possibility to further interrogate the postcolonial present, both in Ireland and beyond.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

Liam Farrell and Gary Hussey’s “Dangerous Memories and Entangled Temporalities: Irish Republicanism and the Postcolonial Politics of Time” is the third article included in Volume 40, Issue 1 of Cultural Studies. Subscribers can read the article here: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “The Hunger Strike as a Biopolitical Technology: Re-Reading the 1981 Irish Republican Prison Protest.” The bottom of the graphic then specifies the author and issue information: “Sarah Bufkin •  Volume 40, Issue 1 (2026)” and “Open Access Article.”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “This article uses the case of the 1981 Irish republican prison protest to show that indefinite hunger strikes can force Euromodern states to the negotiating table by undercutting their commitment to good government. Drawing on a Foucauldian analysis of biopower and political reason, I argue that these acts of willed self-starvation exert pressure on state officials by exploiting a tension between the modern state’s juridical claim to sovereignty and its biopolitical investment in fostering life. In the case of the famed IRA hunger strike on the H-Blocks, the archive shows that the Thatcher government experienced more pressure to reach a negotiated settlement than the prime minister or her top advisers publicly acknowledged.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “Such pressure, however, stemmed not from a moral or humanitarian investment in saving the individual hunger strikers’ lives, but instead from officials’ biopolitical concern that the protest was undermining British attempts to restore ‘life as usual’ in the conflicted region. Ultimately, Thatcher was willing to let ten of the Irish republican strikers die rather than grant them any concessions that might indicate they were political prisoners. The article closes by showing how an indefinite hunger strike’s efficacy is often foreclosed in securitized and postcolonial contexts like that of Northern Ireland, where the protesters can be framed as a ‘biopolitical remainder’ that is allowed to die so that the broader society might thrive.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

“The Hunger Strike as a Biopolitical Technology: Re-Reading the 1981 Irish Republican Prison Protest” by Sarah Bufkin is the second article featured in Volume 40, Issue 1 of Cultural Studies: www.tandfonline.com/doi/full/10....

It is also the second open access article featured in this issue.

So great to see my and Gary Hussey’s article on the temporality of Irish republicanism and the politics of memory in the latest issue of @culturalstudies.bsky.social

Check out the latest issue of Cultural Studies for an interview that @imreszeman.bsky.social and I did with Andreas Malm on Fossil Capital, climate politics, and more: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “How Concepts Do Activism: As Worlds, Aids, Cells, and Currents.” The bottom of the graphic then specifies the author and issue information: “Davina Cooper • Volume 40, Issue 1 (2026)” and “Open Access Article.”

The second image is titled “Abstract,” and it features the first part of the abstract for the article: “What is conceptual activism and how should we understand the form and affordances of the concept as it takes shape within it? Drawing on interviews with twenty-three interdisciplinary academics, along with social theoretical and empirical research, this article offers an onto-methodological approach to the concept, focused on the work of concepts (qua concepts) in critical, prefigurative, campaigning and counter-institutional projects. Foregrounding the materiality of the concept, the discussion focuses on four figures through which the concept assumes shape: the aid, world, animate cell and current. While the ‘aid’ (or ‘tool’) is a familiar conceptual figure, concerned with the different ways that concepts get used – to know, act, stimulate, etc., the others are less familiar.” The abstract is continued on the next image.

The third and final image is titled “Abstract (Continued),” and it includes the rest of the abstract: “In this article, the ‘world’ reveals how concepts are inhabited as people enter, move around, cultivate and care for them. The ‘cell’ reveals how concepts move and thrive, live, fight and die, cluster and disperse. The ‘current’ reveals how concepts exert a force that ebbs and alters, impacting on those who intentionally or otherwise get caught up in it. Tracing these different figures shows how concepts are inhabited, used, observed and felt within conceptual activism. However, aids, worlds, cells and currents are not discrete and distinct conceptual existences, nor is one (or other) better at explaining what concepts are. Rather, these figures combine in different patterns, including sequentially, and the concept qua concept acquires shape as it occupies and travels between them.” At the bottom of the graphic, it reads: “Continue Reading at the Link in Our Description.”

The first contribution in Volume 40, Issue 1 of Cultural Studies is Davina Cooper’s open access article “How Concepts Do Activism: As Worlds, Aids, Cells, and Currents," which can be read by all regardless of subscription status here: www.tandfonline.com/doi/full/10....

Lastly, we would like to thank Siddhesh Gautam for providing the cover artwork, the final installment in our series on “Against Extraction: Desires for Life-Sustaining Futures.”

We would also like to thank the three reviewers who provided book reviews: E. Chebrolu, Mary Ainomugisha, and Constance Awinpoka Akurugu.

We would like to thank the authors who contributed articles: Davina Cooper, Sarah Bufkin, Liam Farrell, Gary Hussey, Lennart Soberon, Max Brierty, Hyung Kwon Choi, Jonathan Jae-an Crisman, Caleb Wellum, Imre Szeman, and Andreas Malm.

This graphic primarily features both text and artwork. The text begins with “New Issue: Cultural Studies” and shares the issue information: “Volume 40, Number 1” and “January 2026.” The artwork features two pairs of hands. One set of hands includes burning vegetation with layers of sand and rock—and it looks like it is about to pass off burning trees to the second set of hands, which are of a dark skin tone and have tattoos of a cat and eyes. This is against a backdrop of the sky, with clouds partially obscuring the sun.

With the release of the inaugural issue of Volume 40 of Cultural Studies, we would like to take some time to share with you the contributions that comprise Issue 1, which span articles, book reviews, and the compelling cover artwork.

We would like to kindly thank our publisher, Taylor & Francis, for agreeing to re-release the contents of this 2015 special issue and provide access to all through the end of April.

Cultural Studies What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner. Volume 29, Issue 4 of Cultural Studies

His afterword—as well as contributions reflecting on his legacy, including Gerard Goggin, Anna Pertierra, Mark Andrejevic, Meaghan Morris, Toby Miller, Frances Bonner, Tony Bennett, John C. Byron, and Melissa Gregg—are available to all to access and read here: www.tandfonline.com/toc/rcus20/2...

Afterword Published in Cultural Studies (Vol. 29, No. 4, 2015)

Graeme Turner was a leading figure in cultural studies and a good friend of the journal. His final article published through Cultural Studies, “Afterword: So… What Has Become of Australian Cultural Studies?” (Issue 29.4; 2015), can be read here: www.tandfonline.com/doi/full/10....

This image primarily features text. The main heading reads: “Cultural Studies Special Issue - What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner.” Additional text specifies “Volume 29, Issue 4 (July 2015)” and “Full Access through April 2026”

To mark and memorialize the passing of Graeme Turner, the 2015 special issue of Cultural Studies on Turner’s scholarship and impact—“What’s Become of Australian Cultural Studies?: The Legacies of Graeme Turner”—is available to read by all through the end of April: www.tandfonline.com/toc/rcus20/2...

We hope you will continue to follow along as we pivot to Volume 40 and our inaugural issue of 2026. We wish you well in 2026.

Cultural Studies Bodies that Haunt: Rethinking the Political Economy of Racialised Death. Volume 39, Issue 6 of Cultural Studies

Thank you for sharing this (digital) space with us and giving us the chance to feature the many contributions that came together in this special issue on “Bodies that Haunt: Rethinking the Political Economy of Racialised Death”: www.tandfonline.com/toc/rcus20/3...

The third and final image is a full-size version of the artwork. As described in the first image, it includes a collage-style collection of elements, including a hand holding a cross-section of watermelon, a white rose, birds, an eye, and paper ripped to reveal the ocean.

This artwork is the twelfth in a cover art series Cultural Studies is featuring on the theme "Against Extraction: Desires for Life Sustaining Futures." We are grateful to Sacha Bezrutchka for sharing this piece with us, which continues to be timely and urgent in its message.

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“At the core of her practice is a focus on the feminine universe and themes of protest. I believe we must use our voices to address meaningful issues, and today there is nothing more urgent than the genocide against Palestinians in Gaza.” See more of Bezrutchka's work: www.instagram.com/sacha.arte/

The second image is titled “About the Artist: Sacha Bezrutchka” and it features a biography for the artist: “Sacha Bezrutchka (she/her) is a Brazilian multimedia artist who has been active since 2015. Her work spans digital and handmade collage, watercolor, acrylic paint, and other techniques that allow her to explore expression in its many forms. At the core of her practice is a focus on the feminine universe and themes of protest. I believe we must use our voices to address meaningful issues, and today there is nothing more urgent than the genocide against Palestinians in Gaza.” The bottom of the graphic includes details about where else to find the artist: “Instagram: @sacha.arte”.

Bezrutchka’s artist statement reads: "Sacha Bezrutchka (she/her) is a Brazilian multimedia artist who has been active since 2015. Her work spans digital and handmade collage, watercolor, acrylic paint, and other techniques that allow her to explore expression in its many forms.”

This graphic is titled “Featured Cover Art.” It then specifies the title of the artistic piece, “Gaza Freedom Flotilla”; the author’s name, “By Sacha Bezrutchka”; and the issue information, “For Volume 39, Issue 6 (2025).” The featured piece of artwork includes a collage-style collection of elements, including a hand holding a cross-section of watermelon, a white rose, birds, an eye, and paper ripped to reveal the ocean.

In our final post related to Volume 39, Issue 6 (2025) of Cultural Studies—a special issue on the theme of Bodies that Haunt: Rethinking the Political Economy of Racialised Death—we would like to share with you once more the cover artwork for this issue: “Gaza Freedom Flotilla” by Sacha Bezrutchka.

Train and its fugitive rhythms: rewriting empire, violence, and the politics of sound This writing seeks the disturbance of certainty in retracing often rerouted archival narratives of genocide and the train in East Java, Indonesia. It centres the train as a means of conversing with...

Subscribers with digital access to Cultural Studies can read Rachmi Diyah Larasati’s full contribution here: www.tandfonline.com/doi/full/10....

We invite you to explore all of the articles from this special issue here: www.tandfonline.com/toc/rcus20/3...

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Train and Its Fugitive Rhythms: Rewriting Empire, Violence, and the Politics of Sound” The bottom of the graphic then specifies the author and issue information: “Rachmi Diyah Larasati” and “Volume 39, Issue 6 (2025)”

The final featured article of 2025 is Rachmi Diyah Larasati’s “Train and Its Fugitive Rhythms: Rewriting Empire, Violence, and the Politics of Sound.” This contribution concludes Volume 39, Issue 6, an edited collection on “Bodies that Haunt: Rethinking the Political Economy of Racialised Death.”

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Haunting Erotics: Theorizing Black Erotic Aliveness” The bottom of the graphic then specifies the author and issue information: “Naimah Petigny” and “Volume 39, Issue 6 (2025)”

Naimah Petigny’s “Haunting Erotics: Theorizing Black Erotic Aliveness” is the eighth article featured in Volume 39, Issue 6, a special issue on the theme of “Bodies that Haunt: Rethinking the Political Economy of Racialised Death." Subscribers can read it here: www.tandfonline.com/doi/full/10....

Radical motherhood ecologies: towards a mapping of social life, death and resistance in the southwest borderlands Through a critical engagement with poor and working-class racialized women’s experiences in the rural California town of Kettleman City, San Francisco’s Southeastern community of Bayview Hunters Po...

The open access status means that it is accessible to all, regardless of your current Cultural Studies subscription status—and we invite all interested in "Radical Motherhood Ecologies" to read the full article here: www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Radical Motherhood Ecologies: Towards a Mapping of Social Life, Death and Resistance in the Southwest Borderlands” The bottom of the graphic then specifies the author and issue information: “José Manuel Santillana Blanco” and “Volume 39, Issue 6 (2025),” as well as “Open Access Article.”

“Radical Motherhood Ecologies: Towards a Mapping of Social Life, Death and Resistance in the Southwest Borderlands” by José Manuel Santillana Blanco is an open access article in Volume 39, Issue 6, a special issue on “Bodies that Haunt: Rethinking the Political Economy of Racialised Death."

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Registering the Gang Body in Pain: Violence and Haunting in Central America” The bottom of the graphic then specifies the author and issue information: “María José Méndez •  Volume 39, Issue 6 (2025)”

“Registering the Gang Body in Pain: Violence and Haunting in Central America,” by María José Méndez, is the sixth article in Volume 39, Issue 6, an edited collection on the topic of “Bodies that Haunt: Rethinking the Political Economy of Racialised Death": www.tandfonline.com/doi/full/10....

This graphic primarily features text. The first text reads, “New Article • Current Issue,” and then it shares the title of the article: “Black Mediterranean Hauntings: Border Violence, Burial, and Anti-Racist Care Work in Strange Fish.” The bottom of the graphic then specifies the author and issue information: “Eleanor Paynter” and “Volume 39, Issue 6 (2025)”

“Black Mediterranean Hauntings: Border Violence, Burial, and Anti-Racist Care Work in Strange Fish” by Eleanor Paynter is the fifth article in Volume 39, Issue 6, a special issue on "Bodies that Haunt: Rethinking the Political Economy of Racialised Death": www.tandfonline.com/doi/full/10....