Breaking down the walls of the traditional newsroom, Rebuilding the News traces the evolution of news reporting as it moves from print to online. As the business models of newspapers have collapsed, author C. W. Anderson chronicles how bloggers, citizen journalists, and social networks are implicated in the massive changes confronting journalism.
Through a combination of local newsroom fieldwork, social-network analysis, and online archival research, Rebuilding the News places the current shifts in news production in socio-historical context. Focusing on the Philadelphia Inquirer, the Philadelphia Daily News, Anderson presents a gripping case study of how these papers have struggled to adapt to emerging economic, social, and technological realities.
As he explores the organizational, networked culture of journalism, Anderson lays bare questions about the future of news-oriented media and its evolving relationship with “the public” in the digital age.
Gerald Horne weaves Barnett's fascinating life story through a groundbreaking history of the ANP, including its deep dedication to Pan-Africanism. An activist force in journalism, Barnett also helped send doctors and teachers to Africa, advised African governments, gave priority to foreign newsgathering, and saw the African American struggle in global terms. Yet Horne also confronts Barnett's contradictions. A member of the African American elite, Barnett's sympathies with black aspirations often clashed with his ethics and a powerful desire to join the upper echelons of business and government. In the end, Barnett's activist success undid his work. Horne traces the dramatic story of the ANP's collapse as the mainstream press, retreating from Jim Crow, finally covered black issues and hired African American journalists.
Revelatory and entertaining, The Rise and Fall of the Associated Negro Press tells the story of a forgotten pioneer and the ambitious black institution he created.
Street-smart, wickedly funny, piercingly perceptive, and eloquent enough to win a Pulitzer Prize, Mike Royko continues to have legions of devoted fans who still wonder “what Royko would have said” about some outrageous piece of news. One thing he hardly ever wrote or talked about, though, was his private life, especially the time he shared with his first wife, Carol. She was the love of his life, and her premature death at the age of forty-four shook him to his soul. Mike’s unforgettable public tribute to Carol was a heart-wrenching column written on what would have been her forty-fifth birthday, “November Farewell.” His most famous and requested piece, it was the end of an untold story.
Royko in Love offers that story’s moving and utterly beguiling beginning in letters that “Mick” Royko, then a young airman, wrote to his childhood sweetheart, Carol Duckman. He had been in love with her since they were kids on Chicago’s northwest side, but she was a beauty and he was, well, anything but. Before leaving for Korea, he was crushed to hear she was getting married, but after returning to Blaine Air Force Base in Washington, he learned she was getting a divorce. Mick soon began to woo Carol in a stream of letters that are as fervent as they are funny. Collected here for the first time, Royko’s letters to Carol are a mixture of sweet seduction, sarcastic observations on military life, a Chicago kid’s wry view of rural folk, the pain of self-doubt, and the fear of losing what is finally so close, but literally so far. His only weapons against Carol’s many suitors were his pen, his ardor, and his brilliance. And they won her heart.
This book contains a collection of John Templeton's favorite inspirational passages.
“From the Bible, from philosophers and poets, and from other writers, we begin to form a clear understanding of the spiritual and ethical laws of life. The world's literature teaches us valuable lessons that no amount of money can buy. Those lessonsare there for everyone. They are free and they are priceless.”—John Marks Templeton
A history of American Western genre comics and how they interacted with contemporaneous political and popular culture.
Redrawing the Western charts a history of the Western genre in American comics from the late 1800s through the 1970s and beyond. Encompassing the core years in which the genre was forged and prospered in a range of popular media, Grady engages with several key historical timeframes, from the origins of the Western in the nineteenth-century illustrated press; fin de siècle anxieties with the closing of the frontier; and the centrality of cowboy adventure across the interwar, postwar, and high Cold War years, to the revisions of the genre in the wake of the Vietnam War and the Western’s continued vitality in contemporary comics storytelling.
In its study of stories about vengeance, conquest, and justice on the contested frontier, Redrawing the Western highlights how the “simplistic” conflicts common in Western adventure comics could disguise highly political undercurrents, providing young readers with new ways to think about the contemporaneous social and political milieu. Besides tracing the history, forms, and politics of American Western comics in and around the twentieth century, William Grady offers an original reassessment of the important role of comics in the development of the Western genre, ranking them alongside popular fiction and film in the process.
Marguerite de Navarre (1492–1549), the sister of the French king François I, composed the Heptaméron as a complex collection of seventy-two novellas, creating one of the first examples of realistic, psychological fiction in French literature. These novellas, framed by debates among ten storytellers, all noble lords and ladies, reveal the author’s desire to depart from the purely masculine voice of the age.
Cholakian contends that this Renaissance text is characterized by feminine writing. She reads the text as the product of the author’s personal experience. Beginning her study with the rape narrative in the autobiographical novella 4, she examines how the Heptaméron interacts with male literary traditions and narrative conventions about gender relations. She analyzes such words as rape, and honor, noting how they are defined differently by men and women and how these differences in perception affect the development of both plot and character.
A study of all of the major tragedies of Jean Racine, France's preeminent dramatist-and, according to many, its greatest and most representative author-Mitchell Greenberg's work offers an exploration of Racinian tragedy to explain the enigma of the plays' continued fascination.
Greenberg shows how Racine uses myth, in particular the legend of Oedipus, to achieve his emotional power. In the seventeenth-century tragedies of Racine, almost all references to physical activity were banned from the stage. Yet contemporary accounts of the performances describe vivid emotional reactions of the audiences, who were often reduced to tears. Greenberg demonstrates how Racinian tragedy is ideologically linked to Absolutist France's attempt to impose the "order of the One" on its subjects. Racine's tragedies are spaces where the family and the state are one and the same, with the result that sexual desire becomes trapped in a closed, incestuous, and highly formalized universe.
Greenberg ultimately suggests that the politics and sexuality associated with the legend of Oedipus account for our attraction to charismatic leaders and that this confusion of the state with desire explains our continued fascination with these timeless tragedies.
In a new interpretation of a poet who has swayed the course of modern poetry--in France and elsewhere--James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his identity and his art.
A drama emerges in Lawler's urbane and resourceful reading. The thinking, feeling, acting Drunken Boat is an early theatrical projection of the poet's self; the Inventor, the Memorialist, and the Ingénu assume distinct roles in his later verse. It is, however, in Illuminations and Une Saison en enfer that Rimbaud enacts most powerfully his grandiose dreams. Here the poet becomes Self Creator, Self-Critic, Self-Ironist; he takes the parts of Floodmaker, Oriental Storyteller, Dreamer, Lover; and he recounts his descent into Hell in the guise of a Confessor.
In delineating and exploring the poet's "theatre of the self" Lawler shows us the tragic lucidity and the dramatic coherence of Rimbaud's work.
Contributors. Jo Ann Cavallo, Valeria Finucci, Katherine Hoffman, Daniel Javitch, Constance Jordan, Ronald L. Martinez, Eric Nicholson, Walter Stephens, Naomi Yavneh, Sergio Zatti
In this dynamic collection of essays, many leading literary scholars trace gay and lesbian themes in Latin American, Hispanic, and U.S. Latino literary and cultural texts. Reading and Writing the Ambiente is consciously ambitious and far-ranging, historically as well as geographically. It includes discussions of texts from as early as the seventeenth century to writings of the late twentieth century.
Reading and Writing the Ambiente also underscores the ways in which lesbian and gay self-representation in Hispanic texts differs from representations in Anglo-American texts. The contributors demonstrate that—unlike the emphasis on the individual in Anglo- American sexual identity—Latino, Spanish, and Latin American sexual identity is produced in the surrounding culture and community, in the ambiente. As one of the first collections of its kind, Reading and Writing the Ambiente is expressive of the next wave of gay Hispanic and Latin scholarship.
Recaptures native literatures of the Amazonian rain forest
Native texts of the Amazonian rain forest have been viewed as myth or ethnographic matter—the raw material of literature—rather than as significant works in their own right. But in this unprecedented study, Lúcia Sá approaches indigenous texts as creative works rather than source material.
Disclosing the existence and nature of long-standing, rich, and complex Native American literary and intellectual traditions that have typically been neglected or demeaned by literary criticism, Rain Forest Literatures analyzes four indigenous cultural traditions: the Carib, Tupi-Guarani, Upper Rio Negro, and Western Arawak. In each case, Sá considers principal native texts and, where relevant, their publication history. She offers a historical overview of the impact of these texts on mainstream Spanish-American and Brazilian literatures, detailing comparisons with native sources and making close analyses of major instances, such as Mário de Andrade’s classic Macunaima (1928) and Mario Vargas Llosa’s The Storyteller (1986). A redrawing of the lineage of Brazilian and Spanish-American literatures, this book advocates an understanding of the relationships between cultures as a process of “transculturation” rather than “acculturation,” emphasizing the often-ignored impact of the peripheral culture on the one that assumes dominance.Latin American women have long written essays on topics ranging from gender identity and the female experience to social injustice, political oppression, lack of educational opportunities, and the need for female solidarity in a patriarchal environment. But this rich vein of writing has often been ignored and is rarely studied.
This volume of twenty-one original studies by noted experts in Latin American literature seeks to recover and celebrate the accomplishments of Latin American women essayists. Taking a variety of critical approaches, the authors look at the way women writers have interpreted the essay genre, molded it to their expression, and created an intellectual tradition of their own. Some of the writers they treat are Flora Tristan, Gertrudis Gómez de Avellaneda, Clorinda Matto de Turner, Victoria Ocampo, Alfonsina Storni, Rosario Ferré, Christina Peri Rossi, and Elena Poniatowska.
This book is the first of a two-volume project that reexamines the Latin American essay from a feminist perspective. The second volume, also edited by Doris Meyer, contains thirty-six essays in translation by twenty-two women authors.
Contributors. John Beverley, Santiago Colás, Georg M. Gugelberger, Barbara Harlow, Fredric Jameson, Alberto Moreiras, Margaret Randall, Javier Sanjines, Elzbieta Sklodowska, Doris Sommer, Gareth Williams, George Yúdice, Marc Zimmerman
This anthology of foundational sixteenth-century Spanish-language texts presents the European side of the discovery and colonization of the New World. Otto Olivera has chosen representative selections from the works of eighteen authors, including Garcilaso de la Vega, Bartolomé de Las Casas, Bernal Díaz del Castillo, Hernán Cortés, and Alvar Núñez Cabeza de Vaca. Their writings present an impressive panorama of the first years of a real New World that could compete with any portrayed in European novels of chivalry or travel. To put these texts in historical context, Olivera has written an introduction that links the literature of colonization in its first century to the classical and medieval myths that helped shape Spaniards' thinking about the New World. He also provides a brief history of the discovery and conquest and a discussion of the social organization of the Spanish colonies.
Latin American intellectual history is largely founded on essayistic writing. Women's essays have always formed a part of this rich tradition, yet they have seldom received the respect they merit and are often omitted entirely from anthologies.
This volume and its earlier companion, Reinterpreting the Spanish American Essay: Women Writers of the 19th and 20th Centuries, seek to remedy that neglect. This book collects thirty-six notable essays by twenty-two women writers, including Flora Tristan, Gertrudis Gómez de Avellaneda, Clorinda Matto de Turner, Victoria Ocampo, Alfonsina Storni, Rosario Ferré, Christina Peri Rossi, and Elena Poniatowska. All of the essays are here translated into English for the first time, many by the same scholars who wrote critical studies of the authors in the first volume. Each author's work is also prefaced by a brief biographical sketch.
Here are observations and speculations, legends and yarns, even gossip about the habits and dispositions of these extraordinary creatures—rattlesnakes—their reported size, deadliness, and power to charm their natural enemies. Here are descriptions of actual fights to the death between rattlesnakes and other animals and accounts of the strange experiences human beings have had with them, as well as tips on where to find them and how to act when you see one.
Dobie began systematically collecting lore about the rattlesnake world many years ago, using some of it in such regional publications as Southwest Review and incorporating much of it into essays—with the intention of eventually putting together a book about rattlesnakes. Now, in this collection of twenty-two articles, his wish is posthumously fulfilled.
Only Frank Dobie could tell of this fascinating and frightening creature with such wisdom and humor, thereby tempering "the age-old feud between the snake and man." And the rattlesnake—who once aroused fear among even the boldest men in the Old West—can at last be regarded with tolerance, respect, and even affection.
Modernism was the major Spanish American literary movement of the late nineteenth and early twentieth centuries. Leader of that influential movement was Rubén Darío, the Nicaraguan now recognized as one of the most important Hispanic poets of all time.
Like the Romantics in England and the Symbolists on the Continent, Darío and other Modernists were strongly influenced by occultist thought. But, as the poet Octavio Paz has written, "academic criticism has ... preferred to close its eyes to the stream of occultism that runs throughout Darío's work. This silence damages our comprehension of his poetry."
Cathy Login Jrade's groundbreaking study corrects this critical oversight. Her work clearly demonstrates that esoteric tradition is central to Modernism and that an understanding of this centrality clarifies both the nature of the movement and its relationship to earlier European literature.
After placing Modernism in a broad historical and literary perspective, Jrade examines the impact of esoteric beliefs upon Darío's view of the world and the role of poetry in it. Through detailed and insightful analyses of key poems, she explores the poet's quest for solutions to the nineteenth-century crisis of belief.
The movement that Ruben Darío headed brought Hispanic poetry into the mainstream of the "modern tradition," with its sense of fragmentation and alienation and its hope for integration and reconciliation with nature. Rubén Darío and the Romantic Search for Unity enriches our understanding of that movement and the work of its leading poet.
Rare and Commonplace Flowers—a Brazilian bestseller—tells the story of two women. Elizabeth Bishop, the Pulitzer Prize–winning American poet, sought artistic inspiration in Brazil. There she met and fell in love with Lota de Macedo Soares, a self-trained Brazilian architect. This dual biography—brilliantly researched, and written in a lively, novelistic style—follows their relationship from 1951 to 1967, the time when the two lived together in Brazil. The fact that these two women had an intimate relationship caused an uproar when it first came to public notice.
The relationship started out happily, yet ended tragically. In 1961, Soares became increasingly obsessed with building and administering Flamengo Park, Rio de Janeiro’s equivalent to New York City’s Central Park. Though she had been the driving force behind the park’s inception, the ultimate credit that was due her was stripped away because of petty politics and chicanery. As Soares’s career declined and Bishop’s flourished, their relationship crumbled.
Rare and Commonplace Flowers is a tale of two artists and two cultures, offering unique perspectives on both women and their work. Carmen L. Oliveira provides an unparalleled level of detail and insight, due to both her familiarity with Brazil as well as her access to the country’s artistic elite, many of whom had a direct connection with Bishop and Soares. Rare pictures of the two artists and their home bring this unique story to life.
Describes the variations in the figure of Dido as she emerges from ancient literary texts.
If we view the Aeneid—the poem of empire, conquest, and male hierarchy-as the West's quintessential canonical text and Latin primer, then the history of Virgil readership should tell us much about the concept of education in the West. In this book, Marilynn Desmond reveals how a constructed and mediated tradition of reading Virgil has conditioned various interpretations among readers responding to medieval cultural and literary texts. In particular, she shows how the story of Dido has been marginalized within canonical readings of the Aeneid. Reaching back to the Middle Ages and vernacular poetic readings of Dido, Desmond recovers an alternative Virgil from historical tradition and provides another paradigm for reading the Aeneid.
Desmond follows the figure of Dido as she emerges from ancient historical and literary texts (from Timaeus and Justin to Virgil and Ovid) and circulates in medieval textual cultures. Her study ranges from the pedagogical discourses of Latin textual traditions (including Servius, Augustine, Bernard Silvestris, and John of Salisbury) to the French and English vernacular cultures inscribed in the Roman d'Eneas, the Histoire ancienne jusqu'à César, and the work of Dante, Chaucer, Gavin Douglas, Caxton, and Christine de Pizan. The positions of all these readers point to the cultural specificity and historical contingency of all traditions of reading; thus, this book demonstrates how medieval traditions of reading Dido offer the modern reader a series of countertraditions that support feminist, antihomophobic, and postcolonial interpretive gestures.“The strength of Empire,” wrote Ben Jonson, “is in religion.” In Reforming Empire, Christopher Hodgkins takes Jonson’s dictum as his point of departure, showing how for more than four centuries the Protestant imagination gave the British Empire its main paradigms for dominion and also, ironically, its chief languages of anti-imperial dissent. From Edmund Spenser’s Faerie Queene to Rudyard Kipling’s “The Man Who Would Be King,” English literature about empire has turned with strange constancy to themes of worship and idolatry, atrocity and deliverance, slavery and service, conversion, prophecy, apostasy, and doom.
Focusing on the work of the Protestant imagination from the Renaissance origins of English overseas colonization through the modern end of England’s colonial enterprise, Hodgkins organizes his study around three kinds of religious binding—unification, subjugation, and self-restraint. He shows how early modern Protestants like Hakluyt and Spenser reformed the Arthurian chronicles and claimed to inherit Rome’s empire from the Caesars: how Ralegh and later Cromwell imagined a counterconquest of Spanish America, and how Milton’s Satan came to resemble Cortés; how Drake and the fictional Crusoe established their status as worthy colonial masters by refusing to be worshiped as gods; and how seventeenth-century preachers, poets, and colonists moved haltingly toward a racist metaphysics—as Virginia began by celebrating the mixed marriage of Pocahontas but soon imposed the draconian separation of the Color Line.
Yet Hodgkins reveals that Tudor-Stuart times also saw the revival of Augustinian anti-expansionism and the genesis of Protestant imperial guilt. From the start, British Protestant colonialism contained its own opposite: a religion of self-restraint. Though this conscience often was co-opted or conscripted to legitimize conquests and pacify the conquered, it frequently found memorable and even fierce literary expression in writers such as Shakespeare, Daniel, Herbert, Swift, Johnson, Burke, Blake, Austen, Browning, Tennyson, Conrad, Forster, and finally the anti-Protestant Waugh. Written in a lively and accessible style, Reforming Empire will be of interest to all scholars and students of English literature.
Today genre studies are flourishing, and nowhere more vigorously perhaps than in the field of Renaissance literature, given the importance to Renaissance writers of questions of genre. These studies have been nourished, as Barbara Lewalski points out, by the varied insights of contemporary literary theory. More sophisticated conceptions of genre have led to a fuller appreciation of the complex and flexible Renaissance uses of literary forms.
The eighteen essays in this volume are striking in their diversity of stance and approach. Three are addressed to genre theory explicitly, and all reveal a concern with theoretical issues. The contributors are James S. Baumlin, Francis C. Blessington, Morton W. Bloomfield, Barbara J. Bono, Mary Thomas Crane, Heather Dubrow, Alastair Fowler, Marjorie Garber, Claudio Guillén, Ann E. Imbrie, John N. King, John Klause, Harry Levin, Earl Miner, Janel M. Mueller, Annabel Patterson, Robert N. Watson, and Steven N. Zwicker.
One of the most common scenes in Augustan and Romantic literature is that of a writer confronting some emblem of change and loss, most often the remains of a vanished civilization or a desolate natural landscape. Ruins and Empire traces the ruin sentiment from its earliest classical and Renaissance expressions through English literature to its establishment as a dominant theme of early American art.
In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen’s clubs that formed the exclusive preserve known as “clubland” in Victorian London—the City of Clubs that arose during the Golden Age of Clubs. Why were these associations for men only such a powerful emergent institution in nineteenth-century London? Distinctly British, how did these single-sex clubs help fashion men, foster a culture of manliness, and assist in the project of nation building? What can elite male affiliative culture tell us about nineteenth-century Britishness?
A Room of His Own sheds light on the mysterious ways of male associational culture as it examines such topics as fraternity, sophistication, nostalgia, social capital, celebrity, gossip, and male professionalism. The story of clubland (and the literature it generated) begins with Britain’s military heroes home from the Napoleonic campaign and quickly turns to Dickens’s and Thackeray’s acrimonious Garrick Club Affair. It takes us to Richard Burton’s curious Cannibal Club and Winston Churchill’s The Other Club; it goes underground to consider Uranian desire and Oscar Wilde’s clubbing and resurfaces to examine the problematics of belonging in Trollope’s novels. The trespass of French socialist Flora Tristan, who cross-dressed her way into the clubs of Pall Mall, provides a brief interlude. London’s clubland—this all-important room of his own—comes to life as Barbara Black explores the literary representations of clubland and the important social and cultural work that this urban site enacts. Our present-day culture of connectivity owes much to nineteenth-century sociability and Victorian networks; clubland reveals to us our own enduring desire to belong, to construct imagined communities, and to affiliate with like-minded comrades.
In Re-reading Poets, Paul Kameen offers a deep reflection on the importance of poets and poetry to the reader. Through his historical, philosophical, scholarly, and personal commentary on select poems, Kameen reveals how these works have helped him form a personal connection to each individual poet. He relates their profound impact not only on his own life spent reading, teaching, and writing poetry, but also their potential to influence the lives of readers at every level.
In an examination of works by William Wordsworth, Samuel Taylor Coleridge, Walt Whitman, and others, Kameen seeks to sense each author’s way of seeing, so that author and reader may meet in a middle ground outside of their own entities where life and art merge in deeply intimate ways. Kameen counters ideologies such as New Criticism and poststructuralism that marginalize the author, and instead focuses on the author as a vital presence in the interpretive process. He analyzes how readers look to the past via “tradition,” conceptualizing history in ways that pre-process texts and make it difficult to connect directly to authors. In this vein, Kameen employs examples from T. S. Eliot, Martin Heidegger, and Mikhail Bakhtin.
Kameen examines how people become poets and how that relates to the process of actually writing poems. He tells of his own evolution as a poet and argues for poetry as a means to an end beyond the poetic, rather than an end in itself. In Re-reading Poets, Kameen’s goal is not to create a new dictum for teaching poetry, but rather to extend poetry’s appeal to an audience far beyond academic walls.
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