Brody provides a playful, erudite meditation on punctuation’s power to direct discourse and, consequently, to shape human subjectivity. Her analysis ranges from a consideration of typography as a mode for representing black subjectivity in Ralph Ellison’s Invisible Man to a reflection on hyphenation and identity politics in light of Strunk and White’s prediction that the hyphen would disappear from written English. Ultimately, Brody takes punctuation off the “stage of the page” to examine visual and performance artists’ experimentation with non-grammatical punctuation. She looks at different ways that punctuation performs as gesture in dances choreographed by Bill T. Jones, in the hybrid sculpture of Richard Artschwager, in the multimedia works of the Japanese artist Yayoi Kusama, and in Miranda July’s film Me and You and Everyone We Know. Brody concludes with a reflection on the future of punctuation in the digital era.
Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.
"Brown has been a close observer of the region for decades, and the breadth of his knowledge and the acuity of his judgments are evident throughout."—Michael Bernhard, Political Science Quarterly
"There is no surer guide than Brown to an understanding of these events, and no one better qualified to describe the complex and daunting problems facing the new non-communist governments."—John C. Campbell, Foreign Affairs
Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Fronting the “picaninny choruses” of African American child performers who toured Britain and the Continent in the early 1900s, and singing and dancing in The Creole Show (1890), Darktown Follies (1913), and Shuffle Along (1921), black women variety-show performers of the early twentieth century paved the way for later generations of African American performers. Brown shows not only how these artists influenced transnational ideas of the modern woman but also how their artistry was an essential element in the development of jazz.
Contributors. Deborah A. Stone and Theodore R. Marmor, Judith Feder, Alice Sardell, Bruce C. Vladeck, Michael Lipsky and Marc A. Thibodeau, Daniel M. Fox, William E. McAuliffe, M. Gregg Bloche and Francine Cournos, Lawrence D. Brown, James A. Morrone
Contributors. Nancy Armstrong, Marshall Brown, Sanford Budick, Catherine Gallagher, Thomas M. Kavanagh, Jon Klancher, Jill Kowalik, Jonathan Brody Kramnick, Christie McDonald, Jerome McGann, Ruth Perry, Michael B. Prince, Leonard Tennenhouse
This special issue of MLQ covers examples of periodization from the early modern to the present, including a range from the individual year to the longue durée and incorporates a variety of methods from close empirical study to global concern. In the lead essay, Russell A. Berman argues that periodization saves us from the dangers of both anachronism and presentism. Srinivas Aravamudan, updating Vico, reminds usthat we lose the past if we simply leave it unexamined. In “Perioddity” Timothy J. Reiss reflects on the crossings of chronology with geology in long-range and global perspectives.
This collection strives to turn discomfort with periodization into a constructive discourse.
Contributors. Srinivas Aravamudan, Russell Berman, Marshall Brown, Margreta de Grazia, Robert J. Griffin, Anne K. Mellor, Michael North, Timothy J. Reiss
Essays included in this collection discuss the hesitant response of the American academy to Bourdieu; Bourdieu on Derrida on Kant; “pure poetry,” cultural capital, and the rejection of classicism; and the insight Bourdieu’s work lends to our understanding of the position of eighteenth-century women writers.
Contributors. Marilyn Butler, John Guillory, Elizabeth W. Harries, Jonathan Joesberg, Toril Moi, William Paulson, Trevor Ross
Contributors. Charles Altieri, Jonathan Arac, R. Howard Bloch, Richard Dellamora, Paul H. Fry, Geoffrey Hartman, Denis Hollier, Donna Landry, Lawrence Lipking, Jerome J. McGann, Walter Benn Michaels, Rukmini Bhaya Nair, Virgil Nemoianu, Annabel Patterson, David Perkins, Marjorie Perloff, Meredith Anne Skura, Doris Sommer, Peter Stallybrass, Susan Stewart
It includes Heather Dubrow, answering New Historicist accounts of country house ideology, J. Paul Hunter reclaiming attention to eighteenth-century couplet structures, and Garrett Stewart arguing for the comprehensive import of the local syntactic forms in syllepsis in Dickens. Ronald Levao recovers the ethical urgency behind stylistic individuation in Milton; Frances Ferguson reveals the ideology of character within Austen’s free indirect discourse; Franco Moretti traces the history of the clue as formal device in detective fiction; and Robert Kaufman shows how formal dynamics derived from Kant and Adorno animate some of the most disruptive contemporary poetry. The history of formalism is the topic of Catherine Gallagher’s meditation on the dialogue of form and time since Percy Shelley and of Virgil Nemoianu’s account of the political vicissitudes of form in the twentieth century. These wide-ranging critical interventions are introduced by Susan Wolfson’s reflections on form today and by Ellen Rooney’s polemical appeal to cultural theorists not to defeat their purposes by neglecting form.
Contributors. Heather Dubrow, Frances Ferguson, Catherine Gallagher, J. Paul Hunter, Robert Kaufman, Ronald Levao, Franco Moretti, Virgil Nemoianu, Ellen Rooney, Garrett Stewart
Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.
Brown and Halley have assembled essays from diverse contributors—law professors, philosophers, political theorists, and literary critics—united chiefly by their willingness to think critically from the left about left legal projects. The essays themselves vary by topic, by theoretical approach, and by conclusion. While some contributors attempt to rework particular left legal projects, others insist upon abandoning or replacing those projects. Still others leave open the question of what is to be done as they devote their critical attention to understanding what we are doing. Above all, Left Legalism/Left Critique is a rare contemporary argument and model for the intellectually exhilarating and politically enriching dimensions of left critique—dimensions that persist even, and perhaps especially, when critique is unsure of the intellectual and political possibilities it may produce.
Contributors: Lauren Berlant, Wendy Brown, Judith Butler, Drucilla Cornell, Richard T. Ford, Katherine M. Franke, Janet Halley, Mark Kelman, David Kennedy, Duncan Kennedy, Gillian Lester, Michael Warner
Contributors. Aditya Bharadwaj, Caroline H. Bledsoe, Carole H. Browner, Junjie Chen, Aimee R. Eden, Susan L. Erikson, Didier Fassin, Claudia Lee Williams Fonseca, Ellen Gruenbaum, Matthew Gutmann, Marcia C. Inhorn, Mark B. Padilla, Rayna Rapp, Lisa Ann Richey, Carolyn Sargent, Papa Sow, Cecilia Van Hollen, Linda Whiteford
Contributors. Ilene H. Forsyth, Jean M. French, Dorothy F. Glass, Dieter Kimpel, Jill Meredith, Linda S. Roundhill
Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt’s works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists’ efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.
Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos
Contributors. Ronald Bogue, Ian Buchanan, André Pierre Colombat, Tom Conley, Manuel DeLanda, Tessa Dwyer, Jerry Aline Flieger, Eugene Holland, Fredric Jameson, Jean-Clet Martin, John Mullarkey, D. N. Rodowick, Horst Ruthrof, Charles J. Stivale
Contributors. Jeremy Ahearne, Frederick C. Bauerschmidt, Ian Buchanan, Philippe Carrard, Claire Colebrook, Tom Conley, Verena Andermatt Conley, Catherine Driscoll, Carla Freccero, John Frow, Richard Terdiman, Timothy Tomasik, Marie-Claire Vallois, Graham Ward
Contributors. Gregory S. Alexander, Margaret F. Brinig, F. H. Buckley, Robert Cooter, Steven J. Eagle, Robert C. Ellickson, Richard A. Epstein, William A. Fischel, Michael Klausner, Bruce H. Kobayashi, Geoffrey P. Miller, Timothy J. Muris, Robert H. Nelson, Eric A. Posner, Robert K. Rasmussen, Larry E. Ribstein, Roberta Romano, Paul H. Rubin, Alan Schwartz, Elizabeth S. Scott, Robert E. Scott, Michael J. Trebilcock
These essays, some of which are appearing in English for the first time, bring Lenin face-to-face with the problems of today, including war, imperialism, the imperative to build an intelligentsia of wage earners, the need to embrace the achievements of bourgeois society and modernity, and the widespread failure of social democracy. Lenin Reloaded demonstrates that truth and partisanship are not mutually exclusive as is often suggested. Quite the opposite—in the present, truth can be articulated only from a thoroughly partisan position.
Contributors. Kevin B. Anderson, Alain Badiou, Etienne Balibar, Daniel Bensaïd, Sebastian Budgen, Alex Callinicos, Terry Eagleton, Fredric Jameson, Stathis Kouvelakis, Georges Labica, Sylvain Lazarus, Jean-Jacques Lecercle, Lars T. Lih, Domenico Losurdo, Savas Michael-Matsas, Antonio Negri, Alan Shandro, Slavoj Žižek
Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.
Considering theme parks, cyberspace, cinematic special effects, superhero comics, and musical films, Matters of Gravity highlights phenomena that make technology spectacular, permit unfettered flights of fantasy, and free us momentarily from the weight of gravity and history, of past and present. Bukatman delves into the dynamic ways pop culture imagines that apotheosis of modernity: the urban metropolis. He points to two genres, musical films and superhero comics, that turn the city into a unique site of transformative power. Leaping in single bounds from lively descriptions to sharp theoretical insights, Matters of Gravity is a deft, exhilarating celebration of the liberatory effects of popular culture.
Drawing on archival research, individual case studies, testimonies of rape victims, and interviews with battered women, Bumiller raises fundamental concerns about the construction of sexual violence as a social problem. She describes how placing the issue of sexual violence on the public agenda has polarized gender- and race-based interests. She contends that as the social welfare state has intensified regulation and control, the availability of services for battered women and rape victims has become increasingly linked to their status as victims and their ability to recognize their problems in medical and psychological terms. Bumiller suggests that to counteract these tendencies, sexual violence should primarily be addressed in the context of communities and in terms of its links to social disadvantage. In an Abusive State is an impassioned call for feminists to reflect on how the co-optation of their movement by the neoliberal state creates the potential to inadvertently harm impoverished women and support punitive and racially based crime control efforts.
In commemorating the uprising, revolutionaries and conservatives used the same methods to promote radically different political agendas: they deployed religious imagery to characterize the political situation as a battle between good and evil, with the fate of the nation hanging in the balance, and exploited traditional gender stereotypes to portray themselves as the defenders of social order against chaos. The resulting atmosphere of polarization combined with increasing political violence to plunge the country into civil war.
Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity. They track the changing representations of masculinity, explaining how the strong patriarch who saved fallen or troubled women from themselves in prewar films gave way to the impotent, unworthy, or incapable father figure of the Occupation. After the Liberation, the patriarch reemerged as protector and provider alongside assertive women who figured as threats not only to themselves but to society as a whole.
Contributors. José Julián Álvarez González, Roberto Aponte Toro, Christina Duffy Burnett, José A. Cabranes, Sanford Levinson, Burke Marshall, Gerald L. Neuman, Angel R. Oquendo, Juan Perea, Efrén Rivera Ramos, Rogers M. Smith, E. Robert Statham Jr., Brook Thomas, Richard Thornburgh, Juan R. Torruella, José Trías Monge, Mark Tushnet, Mark Weiner
Kathryn Burns argues that the archive itself must be historicized. Using the case of colonial Cuzco, she examines the practices that shaped document-making. Notaries were businessmen, selling clients a product that conformed to local “custom” as well as Spanish templates. Clients, for their part, were knowledgeable consumers, with strategies of their own for getting what they wanted. In this inside story of the early modern archive, Burns offers a wealth of possibilities for seeing sources in fresh perspective.
Central to Burns's analysis is Motoori Norinaga’s Kojikiden, arguably the most important intellectual work of Japan's early modern period. Burns situates the Kojikiden as one in a series of attempts to analyze and interpret the mythohistories dating from the early eighth century, the Kojiki and Nihon shoki. Norinaga saw these texts as keys to an original, authentic, and idyllic Japan that existed before being tainted by "flawed" foreign influences, notably Confucianism and Buddhism. Hailed in the nineteenth century as the begetter of a new national consciousness, Norinaga's Kojikiden was later condemned by some as a source of Japan's twentieth-century descent into militarism, war, and defeat. Burns looks in depth at three kokugaku writers—Ueda Akinari, Fujitani Mitsue, and Tachibana Moribe—who contested Norinaga's interpretations and produced competing readings of the mythohistories that offered new theories of community as the basis for Japanese social and cultural identity. Though relegated to the footnotes by a later generation of scholars, these writers were quite influential in their day, and by recovering their arguments, Burns reveals kokugaku as a complex debate—involving history, language, and subjectivity—with repercussions extending well into the modern era.
The Burroughs-Weston letters trace a fascinating personal and business relationship that evolved as the two men and their wives embarked on joint capital ventures, traveled frequently, and navigated the difficult waters of child-rearing, divorce, and aging. Brother Men includes never-before-published images, annotations, and a critical introduction in which Cohen explores the significance of the sustained, emotional male friendship evident in the letters. Rich with insights related to visual culture and media technologies, consumerism, the history of the family, the history of authorship and readership, and the development of the West, these letters make it clear that Tarzan was only one small part of Edgar Rice Burroughs’s broad engagement with modern culture.
Bodies in Contact brings together important scholarship on colonial gender studies gathered from journals around the world. Breaking with approaches to world history as the history of “the West and the rest,” the contributors offer a panoramic perspective. They examine aspects of imperial regimes including the Ottoman, Mughal, Soviet, British, Han, and Spanish, over a span of six hundred years—from the fifteenth century through the mid-twentieth. Discussing subjects as diverse as slavery and travel, ecclesiastical colonialism and military occupation, marriage and property, nationalism and football, immigration and temperance, Bodies in Contact puts women, gender, and sexuality at the center of the “master narratives” of imperialism and world history.
Contributors. Joseph S. Alter, Tony Ballantyne, Antoinette Burton, Elisa Camiscioli, Mary Ann Fay, Carter Vaughn Findley, Heidi Gengenbach, Shoshana Keller, Hyun Sook Kim, Mire Koikari, Siobhan Lambert-Hurley, Melani McAlister, Patrick McDevitt, Jennifer L. Morgan, Lucy Eldersveld Murphy, Rosalind O’Hanlon, Rebecca Overmyer-Velázquez, Fiona Paisley, Adele Perry, Sean Quinlan, Mrinalini Sinha, Emma Jinhua Teng, Julia C. Wells
Archive Stories brings together ethnographies of the archival world, most of which are written by historians. Some contributors recount their own experiences. One offers a moving reflection on how the relative wealth and prestige of Western researchers can gain them entry to collections such as Uzbekistan’s newly formed Central State Archive, which severely limits the access of Uzbek researchers. Others explore the genealogies of specific archives, from one of the most influential archival institutions in the modern West, the Archives nationales in Paris, to the significant archives of the Bakunin family in Russia, which were saved largely through the efforts of one family member. Still others explore the impact of current events on the analysis of particular archives. A contributor tells of researching the 1976 Soweto riots in the politically charged atmosphere of the early 1990s, just as apartheid in South Africa was coming to an end. A number of the essays question what counts as an archive—and what counts as history—as they consider oral histories, cyberspace, fiction, and plans for streets and buildings that were never built, for histories that never materialized.
Contributors. Tony Ballantyne, Marilyn Booth, Antoinette Burton, Ann Curthoys, Peter Fritzsche, Durba Ghosh, Laura Mayhall, Jennifer S. Milligan, Kathryn J. Oberdeck, Adele Perry, Helena Pohlandt-McCormick, John Randolph, Craig Robertson, Horacio N. Roque Ramírez, Jeff Sahadeo, Reneé Sentilles
Drawing on archival research and interviews with Rama Rau, historian Antoinette Burton opens Rama Rau’s career into an examination of orientalism in the postwar United States, the changing idioms of cosmopolitanism in the postcolonial era, and the afterlife of British colonialism in the American public sphere. Burton describes how Rama Rau’s career was shaped by gendered perceptions of India and “the East” as well as by the shifting relationships between the United States, India, Pakistan, and Great Britain during the Cold War. Exploring how Rama Rau positioned herself as an expert on both India and the British empire, Burton analyzes the correspondence between Rama Rau and her Time-Life editors over the contents of her book The Cooking of India (1969), and Rama Rau’s theatrical adaptation of E. M. Forster’s A Passage to India, which played on Broadway in 1961 and was the basis for David Lean’s 1985 film. Burton assesses the critical reception of Rama Rau’s play as well as her correspondence with Forster and Lean.
Contributors. Tony Ballantyne, Antoinette Burton, Ann Curthoys, Augusto Espiritu, Karen Fang, Ian Christopher Fletcher, Robert Gregg, Terri Hasseler, Clement Hawes, Douglas M. Haynes, Kristin Hoganson, Paula Krebs, Lara Kriegel, Radhika Viyas Mongia, Susan Pennybacker, John Plotz, Christopher Schmidt-Nowara, Heather Streets, Hsu-Ming Teo, Stuart Ward, Lora Wildenthal, Gary Wilder
The Gulf coast of Florida and Alabama is a fragile combination of barrier islands, low-lying marshes, and highly erodable mainland shores. In addition to sea-level rise, winter storms, and altered sediment supplies, hurricanes frequently damage or destroy the human developments and infrastructures that line this coast. Indeed, a single storm can cause billions of dollars in losses. Memories of such hurricanes as Camille, Frederic, Opal, and Andrew cause great concern for residents and property owners alike; events of equal magnitude are always just beyond the horizon and the uninformed have much to lose.
The authors of Living on the Edge of the Gulf seek to counteract potential loss by providing an illustrated introduction to coastal processes, a history of hazards for the region, and risk-reduction guidance in the form of site evaluations, community mitigation techniques, and storm-resistant construction practices. Risk maps that focus on individual coastal beaches are designed to assist property owners, community planners, and officials in prudent decision making, while a review of coastal regulations helps owners to understand and navigate various permit requirements.
This latest book in the Living with the Shore series replaces the earlier guide Living with the West Florida Shore and supplements the Alabama portion of Living with the Alabama/Mississippi Shore.
From Amelia Island just south of Georgia to Key West's southern tip, beaches are one of Florida's greatest assets. Yet these beaches are in danger: rapid structural development on a highly erodible coast make them vulnerable to some of nature's greatest storms. The same development that has been driven by the attraction of beautiful beaches and coastal amenities now threatens those very resources. In turn, coastal structures are at risk from sea-level rise, shoreline retreat, winter storms, and hurricanes. Most of the methods for reducing losses associated with storms protect property only in the short term—at a growing cost in dollars and loss of natural habitat in the long term.
Living with Florida's Atlantic Beaches is a guide to mitigating or reducing losses of property, human life, and natural resources by living with, rather than just at, the shore. This illustrated volume provides an introduction to coastal processes and geology as well as a brief history of coastal hazards and short-sighted human responses. This is the first volume in the Living with the Shore series to discuss the significant long-term impact of dredge-and-fill beach construction on living marine resources. Guidance is provided for long-term risk reduction in the form of tips on storm-resistant construction and site evaluation; maps for evaluating relative vulnerability to hazards are also included. A brief review of coastal regulations will help property owners understand and navigate the various permit requirements for developing coastal property. Living with Florida's Atlantic Beaches is an invaluable source of information for everyone from the curious beach visitor to the community planner, from the prudent property investor to the decision-making public official.
Living by the Rules of the Sea is a primer for people living along the nation's coastlines, those considering moving to the coast, or those who want a greater understanding of the risks and dangers posed by living at the seacoast. Published as part of Duke University Press's Living with the Shore series, but without a direct focus on the coastline of one particular state, this book is intended as an overall guide to coastal physical processes, risk assessment of potential property damage from coastal natural hazards, and property damage mitigation.
Over the past twenty years, the authors have mapped and studied most of the barrier islands in the United States and have experienced coastal processes such as storms and shoreline retreat at close range. They represent a coastal geology/oceanographic perspective that is decidedly in favor of preserving the natural protective capabilities of the native coastal environment. While strongly anti-engineering in outlook, Living by the Rules of the Sea does provide a review of coastal engineering techniques. It also examines methods of repairing damage to the natural environment that lessen the prospect of further property damage. Finally, it employs a more inclusive "coastal zone" approach rather than simply concentrating on a more narrowly defined shoreline. Barrier islands are viewed as part of a larger system in which changes in one part of the system—for example, the mining of sand dunes or dredging offshore for beach replenishment sand—can have profound effects on another part of the system, predictable effects even though they may not be visible for years or decades.
A comprehensive handbook with references to recent storms including hurricanes Andrew, Gilbert, Hugo, Emily, and Opal, Living by the Rules of the Sea is designed to help people make better and more informed choices about where or if to live at the coast.
Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.
Contributors. Elissa Auther, Anthea Black, Betty Bright, Nicole Burisch, Maria Elena Buszek, Jo Dahn, M. Anna Fariello, Betsy Greer, Andrew Jackson, Janis Jefferies, Louise Mazanti, Paula Owen, Karin E. Peterson, Lacey Jane Roberts, Kirsty Robertson, Dennis Stevens, Margaret Wertheim
Focusing on the period from 1948 to 1963, Butt draws on the accusations and denials of homosexuality that appeared in the popular press, on early homophile publications such as One and the Mattachine Review, and on biographies, autobiographies, and interviews. In a stunning exposition of Larry Rivers’s work, he shows how Rivers incorporated gossip into his paintings, just as his friend and lover Frank O’Hara worked it into his poetry. He describes how the stories about Andy Warhol being too “swish” to be taken seriously as an artist changed following his breakthrough success, reconstructing him as an asexual dandy. Butt also speculates on the meanings surrounding a MoMA curator’s refusal in 1958 to buy Jasper Johns’s Target with Plaster Casts on the grounds that it was too scandalous for the museum to acquire. Between You and Me sheds new light on a pivotal moment in American cultural production as it signals new directions for art history.
Based on extensive research in southern Africa with the Maloti-Drakensberg Transfrontier Conservation and Development Project, Büscher explains how the successful promotion of transfrontier conservation as a "win-win" solution happens not only in spite of troubling contradictions and problems, but indeed because of them. This is what he refers to as the "politics of neoliberal conservation," which receives its strength from effectively combining strategies of consensus, antipolitics, and marketing. Drawing on long-term, multilevel ethnographic research, Büscher argues that transfrontier conservation projects are not as concerned with on-the-ground development as they are purported to be. Instead, they are reframing environmental protection and sustainable development to fit an increasingly contradictory world order.
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