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Faces of Contemporary Russia is a one-semester textbook for high-intermediate to advanced level Russian students that aims to develop students' linguistic proficiency by examining significant personalities in current Russian culture. In addition to introductory and concluding chapters, the book features twelve individuals (one per chapter), drawing from a range of areas such as arts, sports, journalism, and business. While upper-level Russian textbooks tend to emphasize grammar and reading more traditional works of Russian literature, this book instead seeks to primarily engage students in learning about and discussing the breadth of contemporary Russian culture while weaving the study of grammar and vocabulary into those discussions. In addition to readings and in-class communicative activities, the book also features guided research assignments that encourage students to make use of the many personality interviews and YouTube clips available online.
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Ziegler interviewed more than 250 people as she followed flowers along the full length of the commodity chain, from cuttings in Europe and Latin America to vases in and around New York. She examines the daily experiences of flower growers in the Netherlands and Ecuador, two leading exporters of flowers to the United States. Primary focus, though, is on others in the commodity chain: exporters, importers, wholesalers, and retailers. She follows their activities as they respond to changing competition, supply, and consumer behavior in a market characterized by risk, volatility, and imperfect knowledge. By tracing changes in the wholesale and retail systems, she shows the recent development of two complementary commodity chains in New York and the United States generally. One leads to a high-end luxury market served by specialty florists and designers, and the other to a lower-priced mass market served by chain groceries, corner delis, and retail superstores.
The persistence of deep moral disagreements—across cultures as well as within them—has created widespread skepticism about the objectivity of morality. Moral relativism, moral pessimism, and the denigration of ethics in comparison with science are the results. Fieldwork in Familiar Places challenges the misconceptions about morality, culture, and objectivity that support these skepticisms, to show that we can take moral disagreement seriously and yet retain our aspirations for moral objectivity.
Michele Moody-Adams critically scrutinizes the anthropological evidence commonly used to support moral relativism. Drawing on extensive knowledge of the relevant anthropological literature, she dismantles the mystical conceptions of “culture” that underwrite relativism. She demonstrates that cultures are not hermetically sealed from each other, but are rather the product of eclectic mixtures and borrowings rich with contradictions and possibilities for change. The internal complexity of cultures is not only crucial for cultural survival, but will always thwart relativist efforts to confine moral judgments to a single culture. Fieldwork in Familiar Places will forever change the way we think about relativism: anthropologists, psychologists, historians, and philosophers alike will be forced to reconsider many of their theoretical presuppositions.
Moody-Adams also challenges the notion that ethics is methodologically deficient because it does not meet standards set by natural science. She contends that ethics is an interpretive enterprise, not a failed naturalistic one: genuine ethical inquiry, including philosophical ethics, is a species of interpretive ethnography. We have reason for moral optimism, Moody-Adams argues. Even the most serious moral disagreements take place against a background of moral agreement, and thus genuine ethical inquiry will be fieldwork in familiar places. Philosophers can contribute to this enterprise, she believes, if they return to a Socratic conception of themselves as members of a rich and complex community of moral inquirers.
Movies, stars, auteurs, critics, and the sheer excitement of cinema come together in film festivals as quintessential constellations of art, business, and glamour. Yet, how well do we actually understand the forces and meanings that these events embody?
Film Festivals offers the first comprehensive overview of the history, people, films, and multiple functions of the festival world. From Sundance to Hong Kong, from the glitter of Cannes to edgier festivals that challenge boundaries or foster LGBTQ cultural production, film festivals celebrate art, promote business, bring cinema to diverse audiences, and raise key issues about how we see our world. Cindy Hing-Yuk Wong situates festivals within changing global practices of film, including their important ties to both Hollywood and independent cinema. She explores how these events have become central in the construction of cinema knowledge as well as the behind-the-scene mechanics of finance, distribution, and evaluation. By linking general structures and connections to specific films and auteurs, Wong addresses the components and creation of film festivals that continue to reshape filmmaking as art and business.
Financial Missionaries to the World establishes the broad scope and significance of "dollar diplomacy"—the use of international lending and advising—to early-twentieth-century U.S. foreign policy. Combining diplomatic, economic, and cultural history, the distinguished historian Emily S. Rosenberg shows how private bank loans were extended to leverage the acceptance of American financial advisers by foreign governments. In an analysis striking in its relevance to contemporary debates over international loans, she reveals how a practice initially justified as a progressive means to extend “civilization” by promoting economic stability and progress became embroiled in controversy. Vocal critics at home and abroad charged that American loans and financial oversight constituted a new imperialism that fostered exploitation of less powerful nations. By the mid-1920s, Rosenberg explains, even early supporters of dollar diplomacy worried that by facilitating excessive borrowing, the practice might induce the very instability and default that it supposedly worked against.
"[A] major and superb contribution to the history of U.S. foreign relations. . . . [Emily S. Rosenberg] has opened up a whole new research field in international history."—Anders Stephanson, Journal of American History
"[A] landmark in the historiography of American foreign relations."—Melvyn P. Leffler, author of A Preponderence of Power: National Security, the Truman Administration, and the Cold War
"Fascinating."—Christopher Clark, Times Literary Supplement
Recently, a volatile global economy has challenged the United States to rethink its financial policies toward economically troubled countries. Emily Rosenberg suggests that perplexing questions about how to standardize practices within the global financial system, and thereby strengthen market economies in unstable areas of the world, go back to the early decades of this century. Then, dollar diplomacy--the practice of extending private U.S. bank loans in exchange for financial supervision over other nations--provided America's major approach to stabilizing economies overseas and expanding its influence.
Policymakers, private bankers, and the members of the emerging profession of international economic advising cooperated in devising arrangements by which U.S. banks would extend foreign loans on the condition that the countries hire U.S. experts to revamp financial systems and exercise some supervision. Rosenberg demonstrates that these arrangements were not simply technical and shows how they became central to foreign policy debates during the 1920s, when increasingly vocal critics at home and abroad assailed dollar diplomacy as a new imperialism. She explores how loan-for-supervision arrangements interrelated with broad cultural notions of racial destiny, professional expertise, and the virtues of manliness. An innovative, interdisciplinary study, Financial Missionaries to the World illuminates the dilemmas of public/private cooperation in foreign economic policy and the incalculable consequences of exercising financial power in the global marketplace.
In an illustrious career spanning over forty years, Américo Paredes has often set the standard for scholarship and writing in folklore and Chicano studies. In folklore, he has been in the vanguard of important theoretical and methodological movements. In Chicano studies, he stands as one of the premier exponents.
Paredes's books are widely known and easily available, but his scholarly articles are not so familiar or accessible. To bring them to a wider readership, Richard Bauman has selected eleven essays that eloquently represent the range and excellence of Paredes's work. The hardcover edition of Folklore and Culture was published in 1993. This paperback edition will make the book more accessible to the general public and more practical for classroom use.
Vegan, low fat, low carb, slow carb: Every diet seems to promise a one-size-fits-all solution to health. But they ignore the diversity of human genes and how they interact with what we eat.
In Food, Genes, and Culture, renowned ethnobotanist Gary Nabhan shows why the perfect diet for one person could be disastrous for another. If your ancestors were herders in Northern Europe, milk might well provide you with important nutrients, whereas if you’re Native American, you have a higher likelihood of lactose intolerance. If your roots lie in the Greek islands, the acclaimed Mediterranean diet might save your heart; if not, all that olive oil could just give you stomach cramps.
Nabhan traces food traditions around the world, from Bali to Mexico, uncovering the links between ancestry and individual responses to food. The implications go well beyond personal taste. Today’s widespread mismatch between diet and genes is leading to serious health conditions, including a dramatic growth over the last 50 years in auto-immune and inflammatory diseases.
Readers will not only learn why diabetes is running rampant among indigenous peoples and heart disease has risen among those of northern European descent, but may find the path to their own perfect diet.
“Cultural instructions.” Everyone who has handled a package of seedlings has encountered that enigmatic advisory. This much water and that much sun, certain tips about fertilizer, soil, and drainage. Planting one sort of flower nearby keeps the bugs away but proximity to another sort makes bad things happen. Young shoots might need stakes, and watch out for beetles, weeds, and unseasonable frosts. It’s a complicated business.
But at least since Cicero introduced the term cultura animi (“cultivation of the mind or spirit”), such “cultural instructions” have applied as much to the realm of civilization as to horticulture. In this wide-ranging investigation into the vicissitudes of culture in the twenty-first century, the distinguished critic Roger Kimball traces the deep filiations between cultivation as a spiritual enterprise and the prerequisites of political freedom. Drawing on figures as various as James Burnham, Richard Weaver, G. K. Chesterton, Rudyard Kipling, John Buchan, Friedrich von Hayek, and Leszek Kolakowski, Kimball traces the interconnections between what he calls the fortunes of permanence and such ambassadors of anarchy as relativism, multiculturalism, and the socialist-utopian imperative.
With his signature blend of wit and erudition, Kimball deftly draws on the resources of art, literature, and political philosophy to illuminate some of the wrong turns and dead ends our culture has recently pursued, while also outlining some of the simple if overlooked alternatives to the various tyrannies masquerading as liberation we have again and again fallen prey to. This rich, rewarding, and intelligent volume bristles with insights into what the nineteenth-century novelist Anthony Trollope called “The Way We Live Now.”
Partly an exercise in cultural pathology, The Fortunes of Permanence is also a forward-looking effort of cultural recuperation. It promises to be essential reading for anyone concerned about the direction of Western culture in an age of anti-Western animus and destructive multicultural fantasy.
Framing the Audience explores the cultural politics of the Great Depression and World War II through the prism of art appreciation. Isadora Helfgott interrogates the ideological and political motivations for breaking down barriers between fine art and popular culture. She charts the impact that changes in art appreciation had on the broader political, social, cultural, and artistic landscape.
Framing the Audience argues that efforts to expand the social basis of art became intertwined with—and helped shape—broader debates about national identity and the future of American political economy. Helfgott chronicles artists’ efforts toinfluence the conditions of artistic production and display. She highlights the influence of the Federal Art Project, the impact of the Museum of Modern Art as an institutional home for modernism in America and as an organizer of traveling exhibitions, and the efforts by LIFE and Fortune magazines to integrate art education into their visual record of modern life. In doing so, Helfgott makes critical observations about the changing relationship between art and the American public.
Miller offers a historical introduction to the cultural and economic dynamics of the French slave trade, and he shows how Enlightenment thinkers such as Montesquieu and Voltaire mused about the enslavement of Africans, while Rousseau ignored it. He follows the twists and turns of attitude regarding the slave trade through the works of late-eighteenth- and early-nineteenth-century French writers, including Olympe de Gouges, Madame de Staël, Madame de Duras, Prosper Mérimée, and Eugène Sue. For these authors, the slave trade was variously an object of sentiment, a moral conundrum, or an entertaining high-seas “adventure.” Turning to twentieth-century literature and film, Miller describes how artists from Africa and the Caribbean—including the writers Aimé Césaire, Maryse Condé, and Edouard Glissant, and the filmmakers Ousmane Sembene, Guy Deslauriers, and Roger Gnoan M’Bala—have confronted the aftermath of France’s slave trade, attempting to bridge the gaps between silence and disclosure, forgetfulness and memory.
From the exuberant excesses of Carmen Miranda in the "tutti frutti hat" to the curvaceous posterior of Jennifer Lopez, the Latina body has long been a signifier of Latina/o identity in U.S. popular culture. But how does this stereotype of the exotic, erotic Latina "bombshell" relate, if at all, to real Latina women who represent a wide spectrum of ethnicities, national origins, cultures, and physical appearances? How are ideas about "Latinidad" imagined, challenged, and inscribed on Latina bodies? What racial, class, and other markers of identity do representations of the Latina body signal or reject?
In this broadly interdisciplinary book, experts from the fields of Latina/o studies, media studies, communication, comparative literature, women's studies, and sociology come together to offer the first wide-ranging look at the construction and representation of Latina identity in U.S. popular culture. The authors consider such popular figures as actresses Lupe Vélez, Salma Hayek, and Jennifer Lopez; singers Shakira and Celia Cruz; and even the Hispanic Barbie doll in her many guises. They investigate the media discourses surrounding controversial Latinas such as Lorena Bobbitt and Marisleysis González. And they discuss Latina representations in Lupe Solano's series of mystery books and in the popular TV shows El Show de Cristina and Laura en América. This extensive treatment of Latina representation in popular culture not only sheds new light on how meaning is produced through images of the Latina body, but also on how these representations of Latinas are received, revised, and challenged.
Some contributors highlight how expedited flows of information allow business professionals to develop new knowledge practices. They analyze dynamics ranging from the decision-making processes of the Federal Reserve Board to the legal maneuvering necessary to buttress a nascent Japanese market in over-the-counter derivatives. Others focus on the social consequences of globalization and new modes of communication, evaluating the introduction of new information technologies into African communities and the collaborative practices of open-source computer programmers. Together the essays suggest that social relations, rather than becoming less relevant in the high-tech age, have become more important than ever. This finding dovetails with the thinking of many corporations, which increasingly employ anthropologists to study and explain the “local” cultural practices of their own workers and consumers. Frontiers of Capital signals the wide-ranging role of anthropology in explaining the social and cultural contours of the New Economy.
Contributors. Jean Comaroff, John L. Comaroff, Greg Downey, Melissa S. Fisher, Douglas R. Holmes, George E. Marcus, Siobhán O’Mahony, Aihwa Ong, Annelise Riles, Saskia Sassen, Paul A. Silverstein, AbdouMaliq Simone, Neil Smith, Caitlin Zaloom
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