The essays selected by the editors to explore these apocalyptic visions are: “The Remaking of Zero: Beginning at the End,” by Gary K. Wolfe; “The Lone Survivor,” by Robert Plank; “Ambiguous Apocalypse: Transcendental Versions of the End,” by Robert Galbreath; “World’s End: The Imagination of Catastrophe,” by W. Warren Wagar; “Man-Made Catastrophes,” by Brian Stableford; and “The Rebellion of Nature,” by W. Warren Wagar.
Wolfe sees in these postholocaust narratives a central attraction—“the mythic power inherent in the very conception of a remade world.” This power derives from three sources: the emergence of a new order from the ashes of the old system, and thus a kind of denial of death; the reinforcement of one set of values as opposed to another; and as something always replaces whatever was destroyed, a promise that nothing can annihilate humanity.
Writers have created fictions of social perfection at least since Plato’s Republic. Sir Thomas More gave this thread of intellectual history a name when he called his contribution to it Utopia, Greek for noplace.
With each subsequent author cognizant of his predecessors and subject to altered real-world conditions which suggest ever-new causes for hope and alarm, “no place” changed. The fourteen essays presented in this book critically assess man’s fascination with and seeking for “no place.”
“In discussing these central fictions, the contributors see ‘no place’ from diverse perspectives: the sociological, the psychological, the political, the aesthetic. In revealing the roots of these works, the contributors cast back along the whole length of utopian thought. Each essay stands alone; together, the essays make clear what ‘no place’ means today. While it may be true that ‘no place’ has always seemed elsewhere or elsewhen, in fact all utopian fiction whirls contemporary actors through a costume dance no place else but here.”—from the Preface
The contributors are Eric S. Rabkin, B. G. Knepper, Thomas J.Remington, Gorman Beauchamp, William Matter, Ken Davis, Kenneth M. Roemer, William Steinhoff, Howard Segal, Jack Zipes, Kathleen Woodward, Merritt Abrash, and James W. Bittner.
Self-help authors like Tom Peters and Stephen Covey, who have dominated best-seller lists over the last two decades, have exercised increasing influence on political, governmental, and educational organizations. By contrast, the topic of American success books— texts that promise to help readers succeed by retrofitting their identity to meet workplace demands—has been ignored by scholars since the 1980s. John Ramage challenges the neglect of this hugely popular literature and revives a once-lively conversation among eminent critics about the social phenomenon represented in the work of Bruce Barton, Dale Carnegie, and Norman Vincent Peale, among others.
Using literary texts from Don Quixote to Catch-22 to gloss the discussion, Ramage utilizes Kenneth Burke’s rhetorical theory to understand symbolic acts and social issues and brings together earlier commentaries within a new critical framework. He considers the problematic and paradoxical nature of success and examines its meaning in terms of its traditional dialectic partner, happiness. A synopsis of seventeenth- to nineteenth-century forerunners prefaces this analysis in which Ramage links literary code heroes with the activities of twentieth-century business leaders to determine whether, in the search for authenticity, the heroic individual or the corporation is ultimately served.
This comprehensive study chronicles the legitimation of the success book genre, enumerates rhetorical strategies used to win over readers, and supplies the historical context that renders each book’s message timely. After considering some of the dangers of crossing disciplinary borders, as exemplified by Deborah Tannen’s work, Ramage critiques Stanley Fish’s theoretical strictures against this practice, finally summoning academic critics to action with a strong call to exert greater influence within the popular marketplace.
Archival research of any magnitude can be daunting. With this in mind, Alexis E. Ramsey, Wendy B. Sharer, Barbara L’Eplattenier, and Lisa Mastrangelo have developed an indispensable volume for the first-time researcher as well as the seasoned scholar. Working in the Archives is a guide to the world of rhetoric and composition archives, from locating an archival source and its materials to establishing one’s own collection of archival materials. This practical volume provides insightful information on a variety of helpful topics, such as basic archival theory, processes, and principles; the use of hidden or digital archives; the intricacies of searching for and using letters and photographs; strategies for addressing the dilemmas of archival organization without damaging the provenance of materials; the benefits of seeking sources outside academia; and the difficult (yet often rewarding) aspects of research on the Internet.
Working in the Archives moves beyond the basics to discuss the more personal and emotional aspects of archival work through the inclusion of interviews with experienced researchers such as Lynée Lewis Gaillet, Peter Mortensen, Kathryn Fitzgerald, Kenneth Lindblom, and David Gold. Each shares his or her personal stories of the joys and challenges that face today’s researchers.
Packed with useful recommendations, this volume draws on the knowledge and experiences of experts to present a well-rounded guidebook to the often winding paths of academic archival investigation. These in-depth yet user-friendly essays provide crucial answers to the myriad questions facing both fledgling and practiced researchers, making Working in the Archives an essential resource.
First published in 1986, this book offers the Latin text and English translation of a pivotal work by one of the most influential and controversial writers of early modern times. Pierre de la Ramée, better known as Peter Ramus, was a college instructor in Paris who published a number of books attacking and attempting to refute foundational texts in philosophy and rhetoric. He began in the early 1540s with books on Aristotle—which were later banned and burned—and Cicero, and later, in 1549, he published Rhetoricae Distinctiones in Quintilianum. The purpose of Ramus’s book is announced in the opening paragraph of its dedication to Charles of Lorraine: “I have a single argument, a single subject matter, that the arts of dialectic and rhetoric have been confused by Aristotle, Cicero, and Quintilian. I have previously argued against Aristotle and Cicero. What objection then is there against calling Quintilian to the same account?”
Carole Newlands’s excellent translation—the first in modern English—remains the standard English version. This volume also provides the original Latin text for comparative purposes. In addition, James J. Murphy’s insightful introduction places the text in historical perspective by discussing Ramus’s life and career, the development of his ideas, and the milieu in which his writings were produced. This edition includes an updated bibliography of works concerning Ramus, rhetoric, and related topics.
Although women and men have different relationships to language and to each other, traditional theories of rhetoric do not foreground such gender differences. Krista Ratcliffe argues that because feminists generally have not conceptualized their language theories from the perspective of rhetoric and composition studies, rhetoric and composition scholars must construct feminist theories of rhetoric by employing a variety of interwoven strategies: recovering lost or marginalized texts; rereading traditional rhetoric texts; extrapolating rhetorical theories from such nonrhetoric texts as letters, diaries, essays, cookbooks, and other sources; and constructing their own theories of rhetoric.
Focusing on the third option, Ratcliffe explores ways in which the rhetorical theories of Virginia Woolf, Mary Daly, and Adrienne Rich may be extrapolated from their Anglo-American feminist texts through examination of the interrelationship between what these authors write and how they write. In other words, she extrapolates feminist theories of rhetoric from interwoven claims and textual strategies. By inviting Woolf, Daly, and Rich into the rhetorical traditions and by modeling the extrapolation strategy/methodology on their writings, Ratcliffe shows how feminist texts about women, language, and culture may be reread from the vantage point of rhetoric to construct feminist theories of rhetoric. She also outlines the pedagogical implications of these three feminist theories of rhetoric, thus contributing to ongoing discussions of feminist pedagogies.
Traditional rhetorical theories are gender-blind, ignoring the reality that women and men occupy different cultural spaces and that these spaces are further complicated by race and class, Ratcliffe explains. Arguing that issues such as who can talk, where one can talk, and how one can talk emerge in daily life but are often disregarded in rhetorical theories, Ratcliffe rereads Roland Barthes’ "The Old Rhetoric" to show the limitations of classical rhetorical theories for women and feminists. Discovering spaces for feminist theories of rhetoric in the rhetorical traditions, Ratcliffe invites readers not only to question how women have been located as a part of— and apart from—these traditions but also to explore the implications for rhetorical history, theory, and pedagogy.
Long-ignored within rhetoric and composition studies, listening has returned to the disciplinary radar. Rhetorical Listening: Identification, Gender, Whiteness argues that rhetorical listening facilitates conscious identifications needed for cross-cultural communication.
Krista Ratcliffe establishes eavesdropping, listening metonymically, and listening pedagogically as approaches to rhetorical listening. She defines and models rhetorical listening, addressing identifications with gender and whiteness within public debates, scholarship, and pedagogy. Offering an approach grounded in classical rhetorical theory, Heideggerian theory, feminist theory, and critical race theory, Ratcliffe presents rhetorical listening as an invention tactic that engages spoken and written texts and supplements reading, writing, speaking, and silence as a rhetorical art.
Theorizing intersections of gender and whiteness, Rhetorical Listening examines how whiteness functions as an "invisible" racial category and provides disciplinary and cultural reasons for the displacement of listening and for the use of rhetorical listening as a code of cross-cultural conduct. Ratcliffe presents rhetorical listening in terms of cultural logics, stances, and dominant interpretive tropes. She highlights the modern identification theory of Kenneth Burke and the postmodern identification and disidentification theory of Diana Fuss and presents nonidentification as a more productive site for rhetorical listening.
In the early 1920s, Fannie Hurst’s enormous popularity made her the highest-paid writer in America. She conquered the literary scene at the same time the silent movie industry began to emerge as a tremendously profitable and popular form of entertainment. Abe C. Ravitz parallels Hurst’s growing acclaim with the evolution of silent films, from which she borrowed ideas and techniques that furthered her career. Ravitz notes that Hurst was amazingly adept at anticipating what the public wanted. Sensing that the national interest was shifting from rural to urban subjects, Hurst set her immigrant tales and her "woiking goil" tales in urban America. In her early stories, she tried to bridge the gap between Old World and New World citizens, each somewhat fearful and suspicious of the other. She wrote of love and ethnicity—bringing the Jewish Mother to prominence—of race relations and prejudice, of the woman alone in her quest for selfhood. Ravitz argues, in fact, that her socially oriented tales and her portraits of women in the city clearly identify her as a forerunner of contemporary feminism.
Ravitz brings to life the popular culture from 1910 through the 1920s, tracing the meteoric rise of Hurst and depicting the colorful cast of characters surrounding her. He reproduces for the first time the Hurst correspondence with Theodore Dreiser, Charles and Kathleen Norris, and Gertrude Atherton. Fellow writers Rex Beach and Vachel Lindsay also play important roles in Ravitz’s portrait of Hurst, as does Zora Neale Hurston, who awakened Hurst’s interest in the Harlem Renaissance and in race relations, as shown in Hurst’s novel Imitation of Life.
Evolving rapidly from the movie screen to the television screen to the computer screen, video culture has blossomed from its origins as an obscure spin-off of the 1960s Anglo-American media culture into one of the leading art forms of the late twentieth century. And as such, video culture has grown from being the dominion of small but dedicated cult followings to becoming a near mainstream cinematic interest. The World Is Watching: Video as Multinational Aesthetics, 1968–1995 explores the origins and implications of this powerful visual medium which crosses national, cultural, and political boundaries to present provocative tales of the highest quality. Dennis Redmond’s probing study is rooted in close readings of three stylish and highly successful video efforts—The Prisoner (1967), The Decalogue (1988), and Neon Genesis: Evangelion (1995).
Irish director and star Patrick McGoohan’s classic science fiction vision, The Prisoner, established many of the basic conventions of video for such elements as shot selection, set design, scripting, scoring, and editing techniques. In The Prisoner, a government agent has resigned his position only to be immediately abducted and confined to an isolated town. Thus imprisoned, the agent faces the sinister and surreal efforts of his captors to break him and learn the secret cause of his resignation. Saturated with Cold War allegory, this seventeen-part series was groundbreaking in its exploration of new types of global content, ranging from gender and ethnic identity to the politics of information. Part futuristic thriller, part James Bond parody, the cult series remains hugely popular among partisans of science fiction, and has had an indelible influence on its mainstream descendants.
Set in a Polish housing complex, each episode of The Decalogue examines one of the ten commandments. The provocative series synthesized elements of the Eastern European auteur film with the consumerism of its Western European counterparts, establishing the new genre of Eurovideo. Paying special attention to director Krzysztof Kieslowski's micropolitics of gender, as well as his innovations in scripting, lighting, and framing, Redmond locates The Decalogue within the broader context of Polish filmmaking and as a harbinger of the subsequent Velvet Revolutions of Eastern Europe. Now available on DVD for English-speaking audiences, The Decalogue remains a stunning specimen of video artistry.
Aided by transcripts that are far superior to the flawed English dubbing in some video versions, Redmond’s analysis of Hideaki Anno’s acclaimed television series Neon Genesis: Evangelion explores the increasingly popular narrative form of anime. This animated series is set in the post-apocalyptic future, where young pilots in robotic battle suits combat alien invaders. In discussing this twenty-six part epic undertaking, Redmond identifies the impact of the Godzilla narratives, videogame culture, the Japanese mecha, the Hong Kong action thriller and the American sci-fi blockbuster on the formation of a uniquely East Asian identity and aesthetic sensibility. Anime is proving itself to be exceedingly apt and able at crossing national borders and is now enjoying mass popularity among global audiences, thus making it an ideal subject for Redmond’s telling assessment of the impact of video culture worldwide.
Disputing the so-called ghetto studies that depicted the early part of the twentieth century as the nadir of African American society, this thoughtful volume by Christopher Robert Reed investigates black life in turn-of-the-century Chicago, revealing a vibrant community that grew and developed on Chicago’s South Side in the early 1900s. Reed also explores the impact of the fifty thousand black southerners who streamed into the city during the Great Migration of 1916–1918, effectively doubling Chicago’s African American population. Those already residing in Chicago’s black neighborhoods had a lot in common with those who migrated, Reed demonstrates, and the two groups became unified, building a broad community base able to face discrimination and prejudice while contributing to Chicago’s growth and development.
Reed not only explains how Chicago’s African Americans openly competed with white people for jobs, housing and an independent political voice but also examines the structure of the society migrants entered and helped shape. Other topics include South Side housing, black politics and protest, the role of institutionalized religion, the economic aspects of African American life, the push for citizenship rights and political power for African Americans, and the impact of World War I and the race riot of 1919. The first comprehensive exploration of black life in turn-of-the-century Chicago beyond the mold of a ghetto perspective, this revealing work demonstrates how the melding of migrants and residents allowed for the building of a Black Metropolis in the 1920s.
“Now, let’s find out where those fish are and how to catch a few,” says Art Reid in his Preface.
And that is the essence of this comprehensive guide to fishing in Southern Illinois. In the colorful language of one who has fished the waters and swapped tales over many a campfire, Reid draws upon more than 25 years of experience fishing the United States and several foreign countries.
Liberally spiced with anecdotes, this book tells not only where the fish are and how to catch them but who catches them: no history of fishing in Southern Illinois would be complete without an abundance of profiles of the colorful people who for years have been dedicated anglers. The stories are fun and related with verve, the people fascinating, and the information as complete as a fisherman could find anywhere.
In this broadly conceived study, Ralf Remshardt delineates the theatre’s deep connection with the grotesque and traces the historically extensive and theoretically intensive relationship between performance and its “other,” the grotesque. Staging the Savage God: The Grotesque in Performance examines the aesthetic complicity shared by the two in both art and theatre and presents a general theory of the grotesque.
Performing the grotesque is both a challenge to a culture’s order and the affirmation of certain ethical principles that it recognizes as its own. Remshardt investigates the aesthetics and ideology of grotesque theatre from antiquity—in works such as The Bacchae and Thyestes—to modernity—in Ubu Roi and Hamletmachine—and opens up new critical possibilities for the analysis of both classical and avant-gardetheatre.
Divided into three sections, Staging the Savage God first interrogates the grotesque as primarily a visual artistic and theatrical mode and then inventories various critical approaches to the grotesque, establishing the outlines of a theory with regard to drama. In the most extensive part of the study, Remshardt shifts his emphasis to the theatre of the grotesque, from self-consuming tragedies and the modernist trope of the artificial human figure to the characterology of the grotesque. Remshardt’s conclusion takes bold steps toward unraveling the paradox inherent in the grotesque theatre.
Written in an engaging style and aided by nine illustrations, Staging the Savage God is a comprehensive and rigorous study that incorporates critical approaches from disciplines such as philosophy, psychoanalysis, art history, literature, and theatre to fully investigate the historical function of the grotesque in performance.
From All Anybody Ever Wanted of Me Was to Work...
"Starting around 1950, people stopped raising chickens, milking cows, and raising hogs. They just buy it at the store, ready to eat. A lot buy a steer and have it processed in Dongola and put it in their freezer. What a difference! Girls have got it so easy now. They don't even know what it was like to start out. And I guess my mother's life, when she started out, was as hard again as mine, because they had to make everything by hand. I don't know if it could get any easier for these girls. But they don't know what it was like, and they never will. Everything is packaged. All you do is go to the store and buy you a package and cook it. Automatic washers and dryers. I'm glad they don't have to work like I did. Very glad."
Edith Bradley Rendleman's story of her life in southern Illinois is remarkable in many ways. Recalling the first half of the twentieth century in great detail, she vividly cites vignettes from her childhood as her family moved from farm to farm until settling in 1909 in the Mississippi bottoms of Wolf Lake. She recounts the lives and times of her family and neighbors during an era gone forever.
Remarkable for the vivid details that evoke the past, Rendleman's account is rare in another respect: memoirs of the time—usually written by people from elite or urban families—often reek of nostalgia. But Rendleman's memoir differs from the norm. Born poor in rural southern Illinois, she tells an unvarnished tale of what it was really like growing up on a tenant farm early this century.
Jessica Restaino offers a snapshot of the first semester experiences of graduate student writing teachers as they navigate predetermined course syllabi and materials, the pressures of grading, the influences of foundational scholarship, and their own classroom authority. With rich qualitative data gathered from course observations, interviews, and correspondence, Restaino traces four graduate students’ first experiences as teachers at a large, public university. Yet the circumstances and situations she relates will ring familiar at widely varying institutions.
First Semester: Graduate Students, Teaching Writing, and the Challenge of Middle Ground presents a fresh and challenging theoretical approach to understanding and improving the preparation of graduate students for the writing classroom. Restaino uses a three-part theoretical construct—labor, action, and work, as defined in Hannah Arendt’s work of political philosophy, The Human Condition—as a lens for reading graduate students’ struggles to balance their new responsibilities as teachers with their concurrent roles as students. Arendt’s concepts serve as access points for analysis, raising important questions about graduate student writing teachers’ first classrooms and uncovering opportunities for improved support and preparation by university writing programs.Twenty-first-century technological innovations have revolutionized the way we experience space, causing an increased sense of fragmentation, danger, and placelessness. In Geographies of Writing: Inhabiting Places and Encountering Difference, Nedra Reynolds addresses these problems in the context of higher education, arguing that theories of writing and rhetoric must engage the metaphorical implications of place without ignoring materiality.
Geographies of Writing makes three closely related contributions: one theoretical, to reimagine composing as spatial, material, and visual; one political, to understand the sociospatial construction of difference; and one pedagogical, to teach writing as a set of spatial practices. Aided by seven maps and illustrations that reinforce the book’s visual rhetoric, Geographies of Writing shows how composition tasks and electronic space function as conduits for navigating reality.
Since the 1967 riots that ripped apart the city, Detroit has traditionally been viewed either as a place in ruins or a metropolis on the verge of rejuvenation. In Digital Detroit: Rhetoric and Space in the Age of the Network, author Jeff Rice goes beyond the notion of Detroit as simply a city of two ideas. Instead he explores the city as a web of multiple meanings which, in the digital age, come together in the city’s spaces to form a network that shapes the writing, the activity, and the very thinking of those around it.
Rice focuses his study on four of Detroit’s most iconic places—Woodward Avenue, the Maccabees Building, Michigan Central Station, and 8 Mile—covering each in a separate chapter. Each of these chapters explains one of the four features of network rhetoric: folksono(me), the affective interface, response, and decision making. As these rhetorical features connect, they form the overall network called Digital Detroit. Rice demonstrates how new media, such as podcasts, wikis, blogs, interactive maps, and the Internet in general, knit together Detroit into a digital network whose identity is fluid and ever-changing. In telling Detroit’s spatial story, Rice deftly illustrates how this new media, as a rhetorical practice, ultimately shapes understandings of space in ways that computer applications and city planning often cannot. The result is a model for a new way of thinking and interacting with space and the imagination, and for a better understanding of the challenges network rhetorics pose for writing.
Taking readers into the darkness of solitary confinement, this searing collection of convict experiences, academic research, and policy recommendations shines a light on the proliferation of supermax (super-maximum-security) prisons and the detrimental effects of long-term high-security confinement on prisoners and their families.
Stephen C. Richards, an ex-convict who served time in nine federal prisons before earning his PhD in criminology, argues the supermax prison era began in 1983 at USP Marion in southern Illinois, where the first “control units” were built by the Federal Bureau of Prisons. The Marion Experiment, written from a convict criminology perspective, offers an introduction to long-term solitary confinement and supermax prisons, followed by a series of first-person accounts by prisoners—some of whom are scholars—previously or currently incarcerated in high-security facilities, including some of the roughest prisons in the western world. Scholars also address the widespread “Marionization” of solitary confinement; its impact on female, adolescent, and mentally ill prisoners and families; and international perspectives on imprisonment.
As a bold step toward rethinking supermax prisons, Richards presents the most comprehensive view of the topic to date to raise awareness of the negative aspects of long-term solitary confinement and the need to reevaluate how prisoners are housed and treated.
Jennifer Richter presents a series of poems that explore the many facets of the term "threshold." Throughout the collection, the narrator experiences several acts of threshing, or separating—from birth and the small yet profound distances that part a mother and child, to the separation caused by illness and its toll on relationships. At the same time, she is progressively gathering, piecing together the remnants of her life, collecting her children into her arms, and welcoming a future without pain. Pain is often present in these poems, as the narrator frequently confronts her own threshold for enduring a ravaging illness. Her harrowing struggle through recovery is chronicled by a poem at the end of each section, tracing her powerful journey from deep suffering to a fragile yet steadfast sense of hope.
These gripping lyric and prose poems explore duality in its many forms: the private, contemplative world versus a world of action; the mirror sides of health and sickness; the warmth of a June sun and the deep, long nights of winter; mother and child; collecting and letting go. From the comfort of a morning bed at home to the desperate streets of Hanoi, Threshold is a searing portrait of healing, the courage it takes to bridge the gulfs that divide, and the wonder of the ties that bind.
What Is My Body Without You?
My son’s pajamas unsnapped
on the floor: small husk
of his body relaxing on its back,
legs and sleeves still filled
with his rush. This part of him
hasn’t outgrown my arms
and sometimes lets me lift
him up our steep stairs,
carry him to bed and pull
his shade against the gray
thin winter sky like milk
my daughter wakes up wanting.
In the last days of lifting her
to my breast, I fill her less
than the air already gone
from my son’s flat shape.
Twice like that I have lain back,
the doctor opening me
along the same clean seam.
Each time I was watching:
with a few tugs the child
was out, naked and heading
toward other hands, each child
cut loose before I knew it.
This is the first empirical, mixed-methods study of copyright issues that speaks to writing specialists and legal scholars about the complicated intersections of rhetoric, technology, copyright law, and writing for the Internet. Martine Courant Rife opens up new conversations about how invention and copyright work together in the composing process for digital writers and how this relationship is central to contemporary issues in composition pedagogy and curriculum.
In this era of digital writing and publishing, composition and legal scholars have identified various problems with writers’ processes and the law’s construction of textual ownership, such as issues of appropriation, infringement, and fair use within academic and online contexts. Invention, Copyright, and Digital Writing unpacks digital writers’ complex perceptions of copyright, revealing how it influences what they choose to write and how it complicates their work. Rife uses quantitative and qualitative approaches and focuses on writing as a tool and a technology-mediated activity, arguing the copyright problem is about not law but invention and the attendant issues of authorship.
Looking at copyright and writing through a rhetorical lens, Rife leverages the tools and history of rhetoric to offer insights into how some of our most ancient concepts inform our understanding of the problems copyright law creates for writers. In this innovative study that will be of interest to professional and technical writers, scholars and students of writing and rhetoric, and legal professionals, Rife offers possibilities for future research, teaching, curriculum design, and public advocacy in regard to composition and changing copyright laws.
A basic guide for individuals responsible for developing and/or operating comprehensive or specialized human service programs.
Drawing on more than a decade of classroom experience and development and incorporating standards from the Commission on Accreditation of Rehabilitation Facilities (1985 Edition), Riggar and Matkin have created a management tool that is as practical for human service providers as it is for students. Here is the fundamental management knowledge required to establish or manage all types of human service programs and facilities.
The text is organized into 23 sections that describe tasks ranging from constructing mission statements and admission criteria to developing start-up budgets and allocating space for both direct and indirect services. Each section provides definitions and guidelines, practical examples, exercises, and selected references. While the focus is on the practices of the private not-for-profit sector, those working in a profit-oriented setting will find many of the sections and exercises to be valuable aids for developing, operating, and maintaining successful programs.
In this first modern book-length biography of native Englander William E. Burton, theatre historian David L. Rinear explores Burton’s diary, letters, published reviews, and various reminiscences to reveal the tumultuous personal and professional lives of the mid-nineteenth-century actor/manager and his role in American literary history. Stage, Page, Scandals, and Vandals: William E. Burton and Nineteenth-Century American Theatre also provides insight into the cultural and artistic climate of an early period in American history when the country was still forming a national identity.
Burton fled England in 1834 and came to America in the wake of a public scandal caused by his marriage to a sixteen-year-old orphan. Burton was then already married with a ten-year-old son. Settling in Philadelphia, the thirty-two-year-old actor rapidly established himself in the city’s theatrical productions and quickly became an audience favorite.
In 1837, while continuing to act, Burton founded and edited The Gentleman’s Magazine, a monthly literary publication later called Burton’s Gentleman’s Magazine. Burton hired struggling author Edgar Allan Poe as coeditor, and the journal achieved literary acclaim as it first published many of Poe’s short stories and poems.
Burton sold the journal in 1841 and used the money to build a new theatre, which he managed, although the depression of the early 1840s soon drove his venture out of business. After declaring bankruptcy the following year, Burton worked as a touring actor before returning to theatre management in 1845. For the next thirteen years, Burton managed a succession of theatres in Philadelphia, Baltimore, and New York.
Burton’s work as a producer of Shakespearean comedies and romances marks him as the first of the intellectual theatre managers to raise the theatrical experience from mere popular culture to high art. Burton made a fortune in his ventures, amassed the finest private Shakespearean library in the country, and built a grand seaside estate in Glen Cove, Long Island. Shrewd in his personal affairs and in business, Burton also had a violent temper, which led him to viciously attack his competitors. His peculiar domestic relationships marred his brilliant career as an actor, manager, and man of letters; he may have been married to three women at once and lived with two of these women simultaneously.
Fully revealing Burton’s contributions to American culture, Rinear traces Burton’s personal and professional pursuits from his emigration to his death in 1860. Bolstered by twenty-two illustrations, Stage, Page, Scandals, and Vandals sheds light on the history of American entertainment during the antebellum era, exposes the ruthless business practices required to succeed in theatre and literary magazine publishing, and reveals a sense of what constituted celebrity status in mid-nineteenth-century America.
Drawing on more than thirty years of meticulous research, Kay Rippelmeyer details the Depression-era history of the simultaneous creation of the Civilian Conservation Corps (CCC) and the Shawnee National Forest in southern Illinois. Through the stories of the men who worked in CCC camps devoted to soil and forest conservation projects, she offers a fascinating look into an era of utmost significance to the identity, citizens, wildlife, and natural landscape of the region.
Rippelmeyer outlines the geologic and geographic history of southern Illinois, from Native American uses of the land to the timber industry’s decimation of the forest by the 1920s. Detailing both the economic hardships and agricultural land abuse plaguing the region during the Depression, she reveals how the creation of the CCC under Franklin Delano Roosevelt coincided with the regional campaign for a national forest and how locals first became aware of and involved with the program.
Rippelmeyer mined CCC camp records from the National Archives, newspaper accounts and other correspondence and conducted dozens of oral interviews with workers and their families to re-create life in the camps. An extensive camp compendium augments the volume, featuring numerous photographs, camp locations and dates of operation, work history, and company rosters. Satisfying public curiosity and the need for factual information about the camps in southern Illinois, this is an essential contribution to regional history and a window to the national impact of the CCC.
Many recognize Giant City State Park as one of the premier recreation spots in southern Illinois, with its unspoiled forests, glorious rock formations, and famous sandstone lodge. But few know the park’s history or are aware of the remarkable men who struggled to build it. Giant City State Park and the Civilian Conservation Corps: A History in Words and Pictures provides the first in-depth portrait of the park’s creation, drawing on rarely seen photos, local and national archival research, and interviews to present an intriguing chapter in Illinois history.
Kay Rippelmeyer traces the geological history of the park, exploring the circumstances that led to the breathtaking scenery for which Giant City is so well known, and providing insightful background on and cultural history of the area surrounding the park. Rippelmeyer then outlines the effects of the Great Depression and the New Deal on southern Illinois, including relief efforts by the Civilian Conservation Corps, which began setting up camps at Giant City in 1933. The men of the CCC, most of them natives of southern and central Illinois, are brought to life through vividly detailed, descriptive prose and hundreds of black-and-white photographs that lavishly illustrate life in the two camps at the park. This fascinating book not only documents the men’s hard work—from the clearing of the first roads and building of stone bridges, park shelters, cabins, and hiking and bridle trails, to quarry work and the raising of the lodge’s famous columns—it also reveals the more personal side of life in the two camps at the park, covering topics ranging from education, sports, and recreation, to camp newspapers, and even misbehavior and discipline.
Supplementing the photographs and narrative are engaging conversations with alumni and family members of the CCC, which give readers a rich oral history of life at Giant City in the 1930s. The book is further enhanced by maps, rosters of enrollees and officers, and a list of CCC camps in southern Illinois. The culmination of three decades of research, Giant City State Park and the Civilian Conservation Corps provides the most intimate history ever of the park and its people, honoring one of Illinois’s most unforgettable places and the men who built it.
Orson Welles and the Unfinished RKO Projects: A Postmodern Perspective traces the impact of legendary director Orson Welles on contemporary mass media entertainment and suggests that, ironically, we can see Welles’s performance genealogy most clearly in his unfinished RKO projects.
Author Marguerite H. Rippy provides the first in-depth examination of early film and radio projects shelved by RKO or by Welles himself. While previous studies of Welles largely fall into the categories of biography or modernist film studies, this book extends the understanding of Welles via postmodern narrative theory and performance analysis, weaving his work into the cultural and commercial background of its production. By identifying the RKO years as a critical moment in performance history, Rippy synthesizes scholarship that until now has been scattered among film studies, narrative theory, feminist critique, American studies, and biography.
Building a bridge between auteur and postmodern theories, Orson Welles and the Unfinished RKO Projects offers a fresh look at Welles in his full complexity. Rippy trains a postmodern lens on Welles’s early projects and reveals four emerging narrative modes that came to define his work: deconstructions of the first-person singular; adaptations of classic texts for mass media; explorations of the self via primitivism; and examinations of the line between reality and fiction. These four narrative styles would greatly influence the development of modern mass media entertainment.
Rippy finds Welles’s legacy alive and well in today’s mockumentaries and reality television. It was in early, unfinished projects where Welles first toyed with fact and fiction, and the pleasure of this interplay still resonates with contemporary culture. As Rippy suggests, the logical conclusion of Welles’s career-long exploration of “truthiness” lies in the laughs of fake news shows. Offering an exciting glimpse of a master early in his career, Orson Welles and the Unfinished RKO Projects documents Welles’s development as a storyteller who would shape culture for decades to come.
In Before Shaughnessy: Basic Writing at Yale and Harvard, 1920–1960, Kelly Ritter uses materials from the archives at Harvard and Yale and contemporary theories of writing instruction to reconsider the definition of basic writing and basic writers within a socio-historical context. Ritter challenges the association of basic writing with only poorly funded institutions and poorly prepared students.
Using Yale and Harvard as two sample case studies, Ritter shows that basic writing courses were alive and well, even in the Ivy League, in the early twentieth century. She argues not only that basic writers exist across institutional types and diverse student populations, but that the prevalence of these writers has existed far more historically than we generally acknowledge.
Uncovering this forgotten history of basic writing at elite institutions, Ritter contends that the politics and problems of the identification and the definition of basic writers and basic writing began long before the work of Mina Shaughnessy in Errors and Expectations and the rise of open admissions. Indeed, she illustrates how the problems and politics have been with us since the advent of English A at Harvard and the heightened consumer-based policies that resulted in the new admissions criteria of the early twentieth-century American university. In order to recognize this long-standing reality of basic writing, we must now reconsider whether the nearly standardized, nationalized definition of “basic” is any longer a beneficial one for the positive growth and democratic development of our first-year writing programs and students.
The only collection of all known letters of Christopher Smart provides the best psychological explanation to date of that complex and elusive eighteenth-century poet.
The significant characteristics that distinguish Smart’s prose letters from his poetry, Betty Rizzo and Robert Mahony note, are that his letters were requests for assistance while his verses were bequests, gifts in which he set great store. Indeed, it was Smart’s lifelong conviction that he was a poet of major importance.
As Smart biographer Karina Williamson notes, "The splendidly informative and vivaciously written accounts of the circumstances surrounding each letter, or group of letters, add up to what is in effect a miniature biography."
In Deliberate Conflict: Argument, Political Theory, and Composition Classes, Patricia Roberts-Miller argues that much current discourse about argument pedagogy is hampered by fundamental unspoken disagreements over what democratic public discourse should look like. The book’s pivotal question is, In what kind of public discourse do we want our students to engage? To answer this, the text provides a taxonomy, discussion, and evaluation of political theories that underpin democratic discourse, highlighting the relationship between various models of the public sphere and rhetorical theory.
Deliberate Conflict cogently advocates reintegrating instruction in argumentation with the composition curriculum. By linking effective argumentation in the public sphere with the ability to effect social change, Roberts-Miller pushes compositionists beyond a simplistic Aristotelian conception of how argumentation works and offers a means by which to prepare students for active participation in public discourse.
Currently, 1.7 million Americans are either blind or are in the process of losing their vision. Sightless himself and a veteran of four decades of helping people cope with blindness as well as with the possibility of blindness, Alvin Roberts decided that telling stories drawn from the community of the blind and from his fellow rehabilitation workers was the best way to reassure others—especially the elderly, who are most at risk of becoming visually impaired—that "blindness need not be the end of active life, but rather the beginning of a life in which [people] will depend on their residual senses to continue full, active living."
Through good stories well told, then, Roberts offers reassurance that competent help exists for the visually impaired. He chooses stories that demonstrate to those facing blindness that they, too, can learn to cope because others have done so. Yet that is only part of his message. Seeing humor as a great facilitator for successfully reentering mainstream society, Roberts also dispels the commonly held belief that blind people are a somber lot and that those who help them encounter little humor. Many of these stories are frankly funny, and blind people and those in the rehabilitation field certainly are not above practical jokes.
Roberts’s personal experiences and conversations with colleagues have provided a wealth of incidents on which to base stories of rehabilitation workers with the blind going about their daily tasks. He paints a positive picture of what it is like to be blind, replacing fear, dread, and myth with reality.
Designed to help bird watchers in the field and at home discover the significance of their observations, Southern Illinois Birds documents current knowledge of the birds of southern Illinois by surveying both the published literature on the subject and the unpublished field notes of active observers summarizing many important observations that are not readily available elsewhere.
Bordered on three sides by major rivers, with both upland and lowland forests and dramatic topographic relief in the unglaciated Shawnee Hills, southern Illinois offers a wide variety of habitats and birds unusual to Illinois and the Midwest in general. Compared with studies in central and northern Illinois, there have been few active field observers in the south; yet the contributions of those who worked in southern Illinois have been considerable. Robinson displays their efforts convincingly in this book.
Southern Illinois Birds includes information on early arrival and late departure dates of migrants, the highest reported single-day counts in each season, and records of all vagrants. In addition, Robinson includes maps and guides to some of the best birding areas in the region to encourage birders and others to explore the many birding and scenic attractions in southern Illinois.
Robinson has produced a definitive reference for ornithologists and amateur bird watchers, conservation and government agencies, college students in biology, and future researchers who wish to determine the status and abundance of southern Illinois birds.
An essential document of the first American war of the new century
Under a full opalescent moon in the spring of 2003, CNN correspondent Walter C. Rodgers and three colleagues climbed into an unarmored Humvee loaded with satellite transmission equipment and fell into column formation with the MIAI Abrams battle tanks and Bradley fighting vehicles of Apache Troop, Third Squadron, of the storied 7th Cavalry and crossed the Line of Departure between Kuwait and Iraq. Sleeping with Custer and the 7th Cavalry: An Embedded Reporter in Iraq is Rodgers’s account of the fight from the Kuwaiti border to the Iraqi capital of Baghdad.
Rodgers was embedded with the “tip of the tip of the spear,” the armored reconnaissance unit tasked with clearing the way for the invasion of Iraq. For the next three weeks Rodgers—a seasoned combat correspondent who has covered armed conflicts in the West Bank, along the “Green Line” in Lebanon, and in Sarajevo, Azerbaijan, and Afghanistan—was a first-person witness to the opening campaign of the most significant war America has embarked upon since Vietnam.
Rodgers and his journalistic colleagues in Operation Iraqi Freedom became pioneers in the process of embedding, the placing of journalists who can transmit video reports in real time under combat conditions with no censoring authority to block their reporting. During this journey into war, Rodgers and his crew embraced the dangers, the numbing fatigue, and the moments of stark fear of the young armored cavalrymen they lived with twenty-four hours each day, an experience that created for them the lifelong bond that only soldiers serving together under fire share.
Rodgers also details his return visit to Iraq a year later, reflecting on the nature of war and sharing his personal feelings about a conflict that has claimed the lives of over fifteen hundred American men and women. The volume is illustrated with photographs taken during the invasion by Jeff Barwise, the CNN engineer who accompanied Rodgers.
Although Abraham Lincoln dominates the literature on the American Civil War, he remains less commonly associated with reconstruction. Previous scholarly works touch on Lincoln and reconstruction, but they tend either to speculate on what Lincoln might have done after the war had he not been assassinated or to approach his reconstruction plans merely as a means of winning the war. In this thought-provoking study, John C. Rodrigue offers a succinct but significant survey of Lincoln’s wartime reconstruction initiatives while providing a fresh interpretation of the president’s plans for postwar America.
Revealing that Lincoln concerned himself with reconstruction from the earliest days of his presidency, Rodrigue details how Lincoln’s initiatives unfolded, especially in the southern states where they were attempted. He explores Lincoln’s approach to various issues relevant to reconstruction, including slavery, race, citizenship, and democracy; his dealings with Congressional Republicans, especially the Radicals; his support for and eventual abandonment of colonization; his dealings with the border states; his handling of the calls for negotiations with the Confederacy as a way of reconstructing the Union; and his move toward emancipation and its implications for his approach to reconstruction.
As the Civil War progressed, Rodrigue shows, Lincoln’s definition of reconstruction transformed from the mere restoration of the seceded states to a more fundamental social, economic, and political reordering of southern society and of the Union itself. Based on Lincoln’s own words and writings as well as an extensive array of secondary literature, Rodrigue traces the evolution of Lincoln’s thinking on reconstruction, providing new insight into a downplayed aspect of his presidency.
Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers’s diverse survey of music theory—one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses—is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984.
In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy.
Rogers has organized the book very much like a sonata. Part one, “Background,” delineates principal ideas and themes, acquaints readers with the author’s views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, “Thinking and Listening,” develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, “Achieving Teaching Success,” recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum.
Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.
Lady Murasaki wrote in The Tale of Genji that thirty-seven is “a dangerous year” for women. Evoking the styles of Murasaki and other women writers of the Heian-period Japanese court, Lee Ann Roripaugh presents a collection of confessional poems charting the course of that perilous year. Roripaugh, in both an homage to and a dialogue with women writers of the past, explores the trials of women facing the treacherous waters of time while losing none of the grace and decadence of femininity. Often calling upon the passing of the seasons and revelations of nature, these lyrically elegant poems chronicle the dangers and delights of a range of issues facing contemporary women—from bisexuality and biracial culture and identity, to restless nights and lingering memories of the past. The pleasures of the senses collide with parallels of time and the natural world; tangible solitude lies down beside wistful memories of relationships gone by. What is ultimately revealed is both heartbreaking and illuminating. At once provocative, humorous, and bittersweet, On the Cusp of a Dangerous Year is a pillow book for the twenty-first century, providing a candid and whimsical look into the often tumultuous universe of the modern woman.
In her second collection of poems, Lee Ann Roripaugh probes themes of mixed-race female identities, evoking the molting processes of snakes and insects who shed their skins and shells as an ongoing metaphor for transformation of self. Intertwining contemporary renditions of traditional Japanese myths and fairy tales with poems that explore the landscape of childhood and early adolescence, she blurs the boundaries between myth and memory, between real and imagined selves. This collection explores cultural, psychological, and physical liminalities and exposes the diasporic arc cast by first-generation Asian American mothers and their second-generation daughters, revealing a desire for metamorphosis of self through time, geography, culture, and myth.
Writer’s block is more than a mere matter of discomfort and missed deadlines; sustained experiences of writer’s block may influence academic success and career choices. Writers in the business world, professional writers, and students all have known this most common and least studied problem with the composing process. Mike Rose, however, sees it as a limitable problem that can be precisely analyzed and remedied through instruction and tutorial programs.
Rose defines writer’s block as “an inability to begin or continue writing for reasons other than a lack of skill or commitment,” which is measured by “passage of time with limited productive involvement in the writing task.” He applies insights of cognitive psychology to reveal dimensions of the problem never before examined.
In his three-faceted approach, Rose develops and administers a questionnaire to identify writers experiencing both high and low degrees of blocking; through stimulated recall he examines the composing processes of these writers; and he proposes a cognitive conceptualization of writer’s block and of the composing process.
In drawing up his model, Rose delineates many cognitive errors that cause blocking, such as inflexible rules or conflicting planning strategies. He also discusses the practices and strategies that promote effective composition.
The reissue of this classic study of writer’s block includes a new preface by the author that advocates more mixed-methods research in rhetoric and composition, details how he conducted his writer’s block study, and discusses how his approach to a study like this would be different if conducted today.
Louise M. Rosenblatt’s award-winning work continues increasingly to be read in a wide range of academic fields—literary criticism, reading theory, aesthetics, composition, rhetoric, speech communication, and education. Her view of the reading transaction as a unique event involving reader and text at a particular time under particular circumstances rules out the dualistic emphasis of other theories on either the reader or the text as separate and static entities. The transactional concept accounts for the importance of factors such as gender, ethnicity, culture, and socioeconomic context. Essential reading for the specialist, this book is also well suited for courses in criticism, critical theory, rhetoric, and aesthetics.
Starting from the same nonfoundationalist premises, Rosenblatt avoids the extreme relativism of postmodern theories derived mainly from Continental sources. A deep understanding of the pragmatism of Dewey, James, and Peirce and of key issues in the social sciences is the basis for a view of language and the reading process that recognizes the potentialities for alternative interpretations and at the same time provides a rationale for the responsible reading of texts.
The book has been praised for its lucid explanation of the multidimensional character of the reading process—evoking, interpreting, and evaluating the work. The nonliterary (efferent) and the literary (aesthetic) are shown not to be opposites but to represent a continuum of reading behaviors. The author amply illustrates her theoretical points with interpretations of varied texts. The epilogue carries further her critique of rival contemporary theories.
Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection.
Dolores Rosenblum presents a fresh reading of Rossetti’s works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls “mimetism,” a subtle parody and subversion of the male tradition of literature.
Only with the coming of feminist criticism can Rossetti be meaningfully re-evaluated. Rosenblum calls Rossetti’s works the “poetry of endurance,” stating that it is similar, and at times identical, to the female “sentimental” tradition in literature. Rossetti endured the constraints of the Victorian female artistic spirit by becoming a “watcher.” Within this self-accepted role, Rossetti was able to carefully and deliberately choose artistic self-protection. In her religious poetry, Rossetti transcended, by aesthetic renunciation, the alienation and immobilization forced upon her.
Rossetti’s poetry is full of paradox; it sings about silence, exposes the poet’s oblivion. From the repining Victorian poet, there emerged a “stone woman.” Rosenblum discusses this passively enduring female figure’s alienation from knowledge and power, and how the myth of self strengthened the lyric voice within her. Because she was a woman, she was denied the male use of the lyric “I.”
Rossetti’s work is unified, Rosenblum argues, because she was a deliberate poet, and by accepting the “burden of womanhood,” she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of male objectification of women in art.
Jerusalem, Take One! Memoirs of a Jewish Filmmaker is a behind-the-scenes look at the life of documentary filmmaker Alan Rosenthal, the maker of over sixty films including Day of Peace, Out of the Ashes, A Nation Is Born, and On the Brink of Peace. As a witness to so much recent Israeli history through a camera’s viewfinder, Rosenthal himself makes as much of an interesting subject as the events he documents.
Born in London in 1936, Rosenthal studied law at Oxford before beginning his work in television directing in Israel and the United States. By the 1960s he was an established young filmmaker who had participated in the filming of the Eichmann trial in Jerusalem in 1961. He returned in 1968, initially for just one year, as part of a team invited by the Israeli government to set up the first television network; that year turned into the thirty-plus years that inspired this book.
The Eichmann trial, the development of Israel Television, the Oslo agreement, the search for the menorah from the Second Temple, the history of Zionism on the television screen, and the Yom Kippur War and Project Renewal are but a few of the recent moments in Israeli history that Rosenthal and his camera have witnessed. As he recalls these events with humor and wit, Rosenthal’s words recapture the emotions and feel of those times as vividly as his lens recorded their passing.
This is a memoir, not a history textbook, and Rosenthal himself is the true subject of the book’s most intensely personal and introspective moments, stories of growth and learning, of England and family, of love and loss, of ideological disappointment and renewed hope. Rosenthal’s tale is one of progress toward the man he wishes to be, the films he feels he must make, and the cultural identity he seeks to develop for himself and all Jewish people.
Over the past decade, movie audiences have become hungry for films based on real people and historical events. Never was this more evident than during the best-picture showdown between The King’s Speech and The Social Network during the 2011 Academy Awards, a scene then repeated, with Argo, Lincoln and Zero Dark Thirty in the 2013 awards.. While Hollywood moguls have come to recognize the box-office revenue and critical acclaim that accompany such films and are now fast-tracking many docudramas into theaters, there remains a need for more reality-based film scripts.
In From “Chariots of Fire” to “The King’s Speech,” writer, director, and producer Alan Rosenthal presents a manual for screenwriters to develop their bio-pic or docudrama from concept to completion. This comprehensive guide begins with an overview of the genre before providing screenwriters with all the techniques and insights needed to navigate the often intimidating landscape of screenwriting for reality-based scripts. Included within the volume are tips for such challenges as inception and research, developing dialogue and narration, and capably addressing any legal and rights issues that may arise. Also included are appendixes containing useful marketing tips and broadcast guidelines.
A practical, down-to-earth manual for experienced and novice screenwriters alike, From “Chariots of Fire” to “The King’s Speech” is the only manual dedicated explicitly to writing the bio-pic and docudrama. Rosenthal shares his decades of experience in the film industry, along with hands-on tools and maps, to help screenwriters completely master this popular film genre.
When the 1990 English docudrama Who Bombed Birmingham? cast serious doubt on the guilt of six men convicted of bombing two British pubs in 1974, Prime Minister Margaret Thatcher declared that a "television program alters nothing." But, as Alan Rosenthal concludes, Thatcher was wrong. The film engendered a new inquiry that led to the release of the convicted men.
Rosenthal notes that docudrama wields more influence than the average documentary and that "reality-based stories taken from topical journalism are the most popular drama genre on U.S. and British television today." This three-part collection of diverse and provocative essays addresses the dominant questions and controversies the genre poses.
Defining and examining the rationale of docudrama, the nine essayists in the first part discuss the history and development of docudrama on TV and in film; they also consider the place of truth in docudrama, the main critiques of the form, and the audience's susceptibilities and expectations. In investigating the actual filmmaking process, the eight essays in the second part focus on how "docudrama as a 'commodity' is created in the United States and England." Part essay, part case study, and part interview, this section also explores how Hollywood and the commercial networks as well as producers and writers work and think. The final part presents an in-depth critique of a number of controversial docudramas that have helped form and shape public opinion, including Battleship Potemkin, Roots, Reds, JFK, Mississippi Burning, Schindler's List, and In the Name of the Father.
In addition to Rosenthal, the contributors are John Corner, George F. Custen, David Edgar, Leslie Fishbein, George MacDonald Fraser, Todd Gitlin, Douglas Gomery, Richard Grenier, Sumiko Higashi, Tom W. Hoffer, Jerry Kuehl, Steve Lipkin, Yosefa Loshitsky, Ian McBride, Richard Alan Nelson, Conor Cruise O'Brien, Derek Paget, Robert A. Rosenstone, Betsy Sharkey, Irene Shubik, Jeff Silverman, D. J. Wenden, Sita Williams, and Leslie Woodhead.
WINNER, 2021 Chicago Writers Association Book of the Year in Traditional Nonfiction!
Chicago’s quirky patron saint
This thrilling story of a daughter of America’s foremost industrialist, John D. Rockefeller, is complete with sex, money, mental illness, and opera divas—and a woman who strove for the independence to make her own choices. Rejecting the limited gender role carved out for her by her father and society, Edith Rockefeller McCormick forged her own path, despite pushback from her family and ultimate financial ruin.
Young Edith and her siblings had access to the best educators in the world, but the girls were not taught how to handle the family money; that responsibility was reserved for their younger brother. A parsimonious upbringing did little to prepare Edith for life after marriage to Harold McCormick, son of the Reaper King Cyrus McCormick. The rich young couple spent lavishly. They purchased treasures like the jewels of Catherine the Great, entertained in grand style in a Chicago mansion, and contributed to the city’s cultural uplift, founding the Chicago Grand Opera. They supported free health care for the poor, founding and supporting the John R. McCormick Memorial Institute for Infectious Diseases. Later, Edith donated land for what would become Brookfield Zoo.
Though she lived a seemingly enviable life, Edith’s disposition was ill-suited for the mores of the time. Societal and personal issues—not least of which were the deaths of two of her five children—caused Edith to experience phobias and panic attacks. Dissatisfied with rest cures, she ignored her father’s expectations, moved her family to Zurich, and embarked on a journey of education and self-examination. Edith pursued analysis with then-unknown Carl Jung. Her generosity of spirit led Edith to become Jung’s leading patron. She also supported up-and-coming musicians, artists, and writers, including James Joyce as he wrote Ulysses.
While Edith became a Jungian analyst, her husband, Harold, pursued an affair with an opera star. After returning to Chicago and divorcing Harold, Edith continued to deplete her fortune. She hoped to create something of lasting value, such as a utopian community and affordable homes for the middle class. Edith’s goals caused further difficulties in her relationship with her father and are why he and her brother cut her off from the family funds even after the 1929 stock market crash ruined her. Edith’s death from breast cancer three years later was mourned by thousands of Chicagoans.
Respectful and truthful, Andrea Friederici Ross presents the full arc of this amazing woman’s life and expertly helps readers understand Edith’s generosity, intelligence, and fierce determination to change the world
In her second collection of poems, J. Allyn Rosser explores the human condition in all its gloriously valiant pathos. Misery Prefigured dwells on our continual reinventions of self and world and the restless dynamic that vibrates between them.Whether contemplating a failed marriage, a visit from God, or a pearl dropped into a bottle of Prell shampoo, Rosser's wry yet impassioned eye looks hard for a habitable and abiding truth. Alternating between deadpan and dead serious, these poems are often darkly funny, exposing the contradictions inherent in every desire. Misery Prefigured is fueled by a cocky, unsentimental determination to make some consolatory sense of what passes for reality.
In Contemporary Latina/o Theater, Jon D. Rossini explores the complex relationship between theater and the creation of ethnicity in an unprecedented examination of six Latina/o playwrights and their works: Miguel Piñero, Luis Valdez, Guillermo Reyes, Octavio Solis, José Rivera, and Cherríe Moraga. Rossini exposes how these writers use the genre as a tool to reveal and transform existing preconceptions about their culture. Through “wrighting”—the triplicate process of writing plays, righting misconceptions about ethnic identity, and creating an entirely new way of understanding Latina/o culture—these playwrights directly intervene in current conversations regarding ethnic identity, providing the tools for audiences to reexplore their previously held perspectives outside the theater.
Examining these writers and their works in both cultural and historical contexts, Rossini reveals how playwrights use the liminal space of the stage—an area on the thresholds of both theory and reality—to “wright” new insights into Latina/o identity. They use the limits of the theater itself to offer practical explorations of issues that could otherwise be discussed only in highly theoretical terms.
Rossini traces playwrights’ methods as they address some of the most challenging issues facing contemporary Latinas/os in America: from the struggles for ethnic solidarity and the dangers of a community based in fear, to stereotypes of Latino masculinity and the problematic fusion of ethnicity and politics. Rossini discusses the looming specter of the border in theater, both as a conceptual device and as a literal reality—a crucial subject for modern Latinas/os, given recent legislation and other actions. Throughout, the author draws intriguing comparisons to the cultural limbo in which many Latinas/os find themselves today.
An indispensable volume for anyone interested in drama and ethnic studies, Contemporary Latina/o Theater underscores the power of theatricality in exploring and rethinking ethnicity. Rossini provides the most in-depth analysis of these plays to date, offering a groundbreaking look at the ability of playwrights to correct misconceptions and create fresh perspectives on diversity, culture, and identity in Latina/o America.
Exceptionally rare and valued by book collectors, Otto A. Rothert’s riveting saga of the outlaws and scoundrels of Cave-in-Rock chronicles the adventures of an audacious cast of river pirates and highwaymen who operated in and around the famous Ohio River cavern from 1795 through 1820 (adventures featured in Disney’s Davy Crockett and the film How the West Was Won). Once sporting the enticing sign "Liquor Vault and House for Entertainment," this beautiful cavern location decoyed the unsuspecting by offering a venue for food, drink, and rest.
Compellingly lively, The Outlaws of Cave-in-Rock is nonetheless the work of a scholar, a historian who documents his findings and leaves a detailed bibliographical trail. Presenting many eyewitness accounts, Rothert supplies the lore and legend of the colorful villains of Cave-in-Rock. Always maintaining the difference between stories he tells with historical authority and those that are pure speculation, Rothert provides both a fascinating narrative and a valuable regional history.
To contextualize a new and changed landscape for narratives in the history of rhetoric, Royster and Kirsch present four critical terms of engagement—critical imagination, strategic contemplation, social circulation, and globalization—as the foundation for a new analytical model for understanding, interpreting, and evaluating feminist rhetorical inquiry and the study and teaching of rhetoric in general. This model draws directly on the wealth of knowledge and understanding gained from feminist rhetorical practices, especially sensitivity toward meaningfully and respectfully rendering the work, lives, cultures, and traditions of historical and contemporary women in rhetorical scholarship.
Proposing ambitious new standards for viewing and valuing excellence in feminist rhetorical practice, Royster and Kirsch advocate an ethos of respect and humility in the analysis of communities and specific rhetorical performances neglected in rhetorical history, recasting rhetorical studies as a global phenomenon rather than a western one. They also reflect on their own personal and professional development as researchers as they highlight innovative feminist research over the past thirty years to articulate how feminist work is changing the field and pointing to the active participation of women in various discourse arenas and to the practices and genres they use.
Valuable to new and established scholars of rhetoric, Feminist Rhetorical Practice: New Horizons for Rhetoric, Composition, and Literacy Studies is essential for understanding the theoretical, methodological, and ethical impacts of feminist rhetorical studies on the wider field.
Winner, 2014 Winifred Bryan Horner Outstanding Book Award
Donnalee Rubin examines the responses of thirty-one freshman composition teachers to student writing and shows the negative effects of gender bias on assessment to prove that gender perceptions and expectations can influence assessment decisions that seem neutral on the surface. Arguing that certain pedagogies are more likely to minimize gender bias than others, Rubin believes that teachers are more likely to overcome the influence of gender bias on their teaching if they adopt a process-based method and work intimately with their students through nondirective, supportive conferences.
Rubin characterizes the conference/process-centered class as the type of environment in which maternal teaching can be cultivated. She stresses that maternal can describe any teacher, male or female, who exhibits the nurturing and supportive qualities that the conference/process approach embodies. With a primary focus on the student’s well-being and development as a person and a writer, the maternal teacher is in a better position to overcome gender bias that could distort the interpretation of student texts. In order for writing instructors to increase their sensitivity to gender issues in assessment, Rubin recommends that they self-consciously engage in what she calls "responsive reading." Responsive reading occurs when the teacher reads with an eye toward providing the sorts of supportive feedback and dialectic exchange that will encourage student writers to think for themselves and to revise effectively. Rubin argues that when teachers commit to a responsive-reading pedagogy, they are more likely to question their reactions to student writing along the lines of gender influence and to strive for self-conscious awareness of how their own inner male-female voices may distort their reading of student texts. She challenges all writing teachers to become more aware of the inevitable challenge gender influence presents.
“No man ever entered earth more honorably than those who died in Spain.”—Ernest Hemingway
In 1937, Hank Rubin, a twenty-year-old Jewish pre-med student at UCLA, volunteered for service in the International Brigades combating fascists in the Spanish Civil War. In his illustrated memoir, Rubin reflects on those events, making no apologies for his youthful impulsiveness, bravado, and ideology, but recalling the heroics and sufferings he witnessed and experienced in Spain, as well as the disappointing treatment he received upon his return.
Affiliation with Alcoholics Anonymous parallels religious conversion, according to David R. Rudy in this timely study of the most famous self-help organization in the world.
Drinkers who commit themselves to Alcoholics Anonymous embrace the radically different life-style, the altered world of the convert.
To understand this conversion and, more important, to get a grip on the even deeper mystery of alcoholism itself, Rudy sought to answer these three questions: What processes are involved in becoming alcoholic? How does the alcoholic affiliate with, and become committed to, A. A.’s belief system? What is the relationship between the world of A. A. members and that constructed by alcohologists?
Rudy establishes the history and structure of A. A. and examines the organization’s relationship to dominant sociological models, theories, and definitions of alcoholism.
David Rush takes beginning playwrights through the first draft of a play and deep into the revision process. Drawing on examples from such classics as Othello and The Glass Menagerie, Rush provides detailed models for writers to evaluate their work for weaknesses and focus on the in-depth development of their plays.
Rush encourages writers to make sure their plays are clear and focused. He shows how to keep plays dramatically compelling and offers ways to avoid common mistakes that make them dull, confusing, or ineffective. He then distills the essence of traditional revision into key questions and discusses frequently overlooked tools, terms, and strategies that go beyond established methods of evaluation.
With the skills of a playwright, the vision of a producer, and the wisdom of an experienced teacher, David Rush offers a fresh and innovative guide to interpreting drama in A Student Guide to Play Analysis, the first undergraduate teaching tool to address postmodern drama in addition to classic and modern. Covering a wide gamut of texts and genres, this far-reaching and user-friendly volume is easily paired with most anthologies of plays and is accessible even to those without a literary background.
Contending that there are no right or wrong answers in play analysis, Rush emphasizes the importance of students developing insights of their own. The process is twofold: understand the critical terms that are used to define various parts and then apply these to a particular play. Rush clarifies the concepts of plot, character, and language, advancing Aristotle’s concept of the Four Causes as a method for approaching a play through various critical windows. He describes the essential difference between a story and a play, outlines four ways of looking at plays, and then takes up the typical structural devices of a well-made play, four primary genres and their hybrids, and numerous styles, from expressionism to postmodernism.
For each subject, he defines critical norms and analyzes plays common to the canon. A Student Guide to Play Analysis draws on thoughtful examinations of such dramas as The Cherry Orchard, The Good Woman of Setzuan, Fences, The Little Foxes, A Doll House, The Glass Menagerie, and The Emperor Jones. Each chapter ends with a list of questions that will guide students in further study.
Teaching Writing: Landmarks and Horizons, edited by Christina Russell McDonald and Robert L. McDonald, is designed to present an overview of some of the major developments in the establishment of composition studies as a field during the past thirty-five years. The essays are theoretically grounded but are focused on pedagogy as well. Divided into two parts, the first presents nine landmark essays, selected and introduced by distinguished composition scholars, and the second brings together eight new essays by emerging scholars.
“To understand the ways students learn to write, we must go beyond the small and all too often marginalized component of the curriculum that treats writing explicitly and look at the broader, though largely tacit traditions students encounter in the whole curriculum,” explains David R. Russell, in the introduction to this singular study. The updated edition provides a comprehensive history of writing instruction outside general composition courses in American secondary and higher education, from the founding public secondary schools and research universities in the 1870s, through the spread of the writing-across-the-curriculum movement in the 1980s, through the WAC efforts in contemporary curriculums.
In The State of Southern Illinois: An Illustrated History, Herbert K. Russell offers fresh interpretations of a number of important aspects of Southern Illinois history. Focusing on the area known as “Egypt,” the region south of U.S. Route 50 from Salem south to Cairo, he begins his book with the earliest geologic formations and follows Southern Illinois’s history into the twenty-first century. The volume is richly illustrated with maps and photographs, mostly in color, that highlight the informative and straightforward text.
Perhaps most notable is the author’s use of dozens of heretofore neglected sources to dispel the myth that Southern Illinois is merely an extension of Dixie. He corrects the popular impressions that slavery was introduced by early settlers from the South and that a majority of Southern Illinoisans wished to secede. Furthermore, he presents the first in-depth discussion of twelve pre–Civil War, free black communities located in the region. He also identifies the roles coal mining, labor violence, gangsters, and the media played in establishing the area’s image. He concludes optimistically, unveiling a twenty-first-century Southern Illinois filled with myriad attractions and opportunities for citizens and tourists alike.
The State of Southern Illinois is the most accurate all-encompassing volume of history on this unique area that often regards itself as a state within a state. It offers an entirely new perspective on race relations, provides insightful information on the cultural divide between north and south in Illinois, and pays tribute to an often neglected and misunderstood region of this multidimensional state, all against a stunning visual backdrop.
Superior Achievement from the Illinois State Historical Society, 2013
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