More than a century passed after Johann Sebastian Bach's death in 1750 before his music found an audience in the United States. Volume Five in the Bach Perspectives series tracks the composer's reputation in America from obscure artist to a cultural mainstay whose music has spread to all parts of the country.
Barbara Owen surveys Bach's early reception in America. Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers Bach's early impact in Boston while Mary J. Greer offers a counterpoint in her study of Bach's reception in New York. Hans-Joachim Schulze's essay links the American descendants of August Reinhold Bach to the composer. Christoph Wolff also focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son. Peter Wollny evaluates manuscripts not included in Gerhard Herz's study of Bach Sources in America. The volume concludes with Carol K. Baron's comparison of Bach with Charles Ives while Stephen A. Crist measures Bach's influence on the jazz icon Dave Brubeck.
In Banquet at Delmonico’s, Barry Werth draws readers inside the circle of intellectuals, scientists, politicians, businessmen, and clergymen who brought Charles Darwin’s controversial ideas to post-Civil-War America. Each chapter is dedicated to a crucial intellectual encounter, culminating with an exclusive farewell dinner held in English philosopher Herbert Spencer’s honor at the venerable New York restaurant Delmonico’s in 1882. In this thought-provoking and nuanced account, Werth firmly situates social Darwinism in the context of the Gilded Age. Banquet at Delmonico’s is social history at its finest.
The Barthes Effect was first published in 1987. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The author acknowledges the essay as an eccentric phenomenon in literary history, one that has long resisted entry into the taxonomy of genres, as it concentrates on four works by Roland Barthes: The Pleasure of the Text, A Lover's Discourse, Roland Barthes by Roland Barthes, and Camera Lucida. Maintains that with Barthes the essay achieves a status of its own, as reflective text.
". . . a study rigorously conscious of the critical maneuvers it executes and, more importantly, questions as critical practice . . . " Bensmaïa's strategy produces a successful investigation of the interstices and slippages of meaning which Barthes addressed in his work." SubStance
Reda Bensmaia is associate professor in the departments of French and comparative literature at the University of Minnesota, and translator Pat Fedkiew, a graduate student in French at Minnesota. Michele Richman is associate professor of French at the University of Pennsylvania and author of Reading Georges Bataille: Beyond the Gift.
Borrowing from Romare Bearden’s aesthetic palette and inspired by his Odysseus series, Bearden’s Odyssey gathers, for the first time, poems from thirty-five of the most revered African diaspora poets in the United States. Poetic echoes come forth in themes of inspiration with historical intersections of one of the greatest visual artists of the twentieth century.
The award-winning editors, Kwame Dawes and Matthew Shenoda, assemble an esteemed literary congregation, with original poems by Chris Abani, Rita Dove, Lyrae Van Clief-Stefanon, Ed Roberson, Aracelis Girmay, Yusef Komunyakaa, and more. With a powerful foreword by Nobel laureate Derek Walcott and stunning visual reproductions of select Bearden masterpieces, this anthology fuses art and literature, standing as a testament to Romare Bearden’s power and influence in the contemporary artistic world.
Among the best-represented authors in Samuel Beckett’s library was Ludwig Wittgenstein, yet the philosopher’s relevance to the Nobel laureate’s work is scarcely acknowledged and seldom elucidated. Beckett after Wittgenstein is the first book to examine Beckett’s formative encounters with, and profound affinities to, Wittgenstein’s thought, style, and character.
While a number of influential critics, including the philosopher Alain Badiou, have discerned a transition in Beckett’s work beginning in the late 1950s, Furlani is the first to identify and clarify how this change occurs in conjunction with the writer’s sustained engagement with Wittgenstein’s thought on, for example, language, cognition, subjectivity, alterity, temporality, belief, hermeneutics, logic, and perception. Drawing on a wealth of Beckett’s archival materials, much of it unpublished, Furlani’s study reveals the extent to which Wittgenstein fostered Beckett’s views and emboldened his purposes.
Design Research is an area that is both current and growing, but texts on the subjects are in short supply. This book is a response to the vitality of discussion within journals and at conferences, and it intends to place Design Research in its rightful place at the heart of studio-based education and practice.
Offering a valuable context within which to understand the educational needs and aspirations of the designer, Becoming Designers is also a vital resource for students in this field, whose access to books on the subject is currently very limited.
Through insightful close readings of a selection of Arenas's works, including unpublished manuscripts and correspondence, Olivares examines the writer's personal, political, and artistic trajectory, focusing on his portrayals of family, sexuality, exile, and nostalgia. He documents Arenas's critical engagement with cultural and political developments in revolutionary Cuba and investigates the ways in which Arenas challenged literary and national norms. Olivares's analysis shows how Arenas drew on his life experiences to offer revealing perspectives on the Cuban Revolution, the struggles of Cuban exiles, and the politics of sexuality.
Becoming the Story examines the transformation of war reporting in the decade after 9/11. Lindsay Palmer delves into times when print or television correspondents themselves received intense public scrutiny because of an incident associated with the work of war reporting. Such instances include Daniel Pearl’s kidnapping and murder; Bob Woodruff’s near-fatal injury in Iraq; the expulsions of Maziar Bahari and Nazila Fathi from Iran in 2009; the sexual assault of Lara Logan; and Marie Colvin’s 2012 death in Syria. Merging analysis with in-depth interviews of Woodruff and others, Palmer shows what these events say about how post-9/11 conflicts transformed the day-to-day labor of reporting. But they also illuminate how journalists’ work became entangled with issues ranging from digitization processes to unprecedented hostility from all sides to the political logic of the War on Terror.
As the nation tried to absorb the shock of the 9/11 attacks, Muslim Americans were caught up in an unprecedented wave of backlash violence. Public discussion revealed that widespread misunderstanding and misrepresentation of Islam persisted, despite the striking diversity of the Muslim community.
Letting the voices of 140 ordinary Muslim American men and women describe their experiences, Lori Peek's path-breaking book, Behind the Backlash presents moving accounts of prejudice and exclusion. Muslims speak of being subjected to harassment before the attacks, and recount the discrimination they encountered afterwards. Peek also explains the struggles of young Muslim adults to solidify their community and define their identity during a time of national crisis.
Behind the Backlash seeks to explain why blame and scapegoating occur after a catastrophe. Peek sets the twenty-first century experience of Muslim Americans, who were vilified and victimized, in the context of larger sociological and psychological processes. Peek’s book will be of interest to those in disaster research studies, sociology of religion, and race and ethnic relations.
Eynat-Confino goes beyond the usual consideration of Craig’s purported theories of the actor, scenery, and the scene painter to get at the heart of Craig’s idea of theater.
She draws not only on the research of contemporary Craig scholars but on material hitherto unavailable—his writings and daybooks and the writings of friends. She ties Craig’s encounter with Isadora Duncan to a decisive modification in his notion of movement. To have an instrument more controllable than the actor, he invented the über-marionette, a giant puppet. Craig also invented the “Scene,” a kinetic stage, the “screens” that brought him worldwide fame were simply an adaptation of this concept.
Eynat-Confino argues that a scenario Craig wrote in 1905, here published for the first time, reveals a theosophical system like that of Blake, a system that was the main force motivating Craig’s artistic quest. In her final chapter, she carefully examines the psychological, aesthetic, and circumstantial factors that kept Craig from completing his work to bring “friendliness—humor—love—ease—peace” to the world.
An interdisciplinary investigation of the Bible's place in American experience
Much has changed since the Society of Biblical Literature's Bible in American Culture series was published in the 1980s, but the influence of the Bible has not waned. In the United States, the stories, themes, and characters of the Bible continue to shape art, literature, music, politics, education, and social movements to varying degrees. In this volume, contributors highlight new approaches that move beyond simple citation of texts and explore how biblical themes infuse US culture and how this process in turn transforms biblical traditions.
Features
Explore perceptions and interpretations of scripture in American politics, identity, popular culture, and public education
Essays from the perspectives of American history, the history of ideas, film studies, visual studies, cultural studies, education, and church-state studies provide essential research for those interested in the intersection of the Bible and American culture. The contributors are Yaakov Ariel, Jacques Berlinerblau, Mark A. Chancey, Rubén Dupertuis, John Fea, Shalom Goldman, Charles C. Haynes, Carol Meyers, Eric M. Meyers, David Morgan, Adele Reinhartz, and David W. Stowe.
Features:
Black Panther was the first Black superhero in mainstream American comics. Black Panther was a cultural phenomenon that broke box office records. Yet it wasn’t just a movie led by and starring Black artists. It grappled with ideas and conflicts central to Black life in America and helped redress the racial dynamics of the Hollywood blockbuster.
Scott Bukatman, one of the foremost scholars of superheroes and cinematic spectacle, brings his impeccable pedigree to this lively and accessible study, finding in the utopianism of Black Panther a way of re-envisioning what a superhero movie can and should be while centering the Black creators, performers, and issues behind it. He considers the superheroic Black body; the Pan-African fantasy, feminism, and Afrofuturism of Wakanda; the African American relationship to Africa; the political influence of director Ryan Coogler’s earlier movies; and the entwined performances of Chadwick Boseman’s T’Challa and Michael B. Jordan’s Killmonger. Bukatman argues that Black Panther is escapism of the best kind, offering a fantasy of liberation and social justice while demonstrating the power of popular culture to articulate ideals and raise vital questions.
“The same rebellion, the same impatience, the same anger that exists in the hearts of the dark people in Africa and Asia,” Malcolm X declared in a 1962 speech, “is existing in the hearts and minds of 20 million black people in this country who have been just as thoroughly colonized as the people in Africa and Asia.” Four decades later, the hip-hop artist Talib Kweli gave voice to a similar Pan-African sentiment in the song “K.O.S. (Determination)”: “The African diaspora represents strength in numbers, a giant can't slumber forever.”
Linking discontent and unrest in Harlem and Los Angeles to anticolonial revolution in Algeria, Egypt, and elsewhere, Black leaders in the United States have frequently looked to the anti-imperialist movements and antiracist rhetoric of the Muslim Third World for inspiration. In Black Star, Crescent Moon, Sohail Daulatzai maps the rich, shared history between Black Muslims, Black radicals, and the Muslim Third World, showing how Black artists and activists imagined themselves not as national minorities but as part of a global majority, connected to larger communities of resistance. Daulatzai traces these interactions and alliances from the Civil Rights movement and the Black Power era to the “War on Terror,” placing them within a broader framework of American imperialism, Black identity, and the global nature of white oppression.
From Malcolm X and Muhammad Ali to contemporary artists and activists like Rakim and Mos Def, Black Star, Crescent Moon reveals how Muslim resistance to imperialism came to occupy a central position within the Black radical imagination, offering a new perspective on the political and cultural history of Black internationalism from the 1950s to the present.
Renowned for his fierce devotion to the people of Texas—as well as his equally fierce rages and unpredictable temper—Bob Bullock was the most powerful political figure in Texas at the end of the twentieth century. First elected to the Texas House of Representatives in 1956, Bullock held several key statewide posts before capturing the lieutenant governor's office in 1990. Though nominally the state's number two official, Bullock in fact became Texas's top power broker, wielding tremendous influence over the legislative agenda and state budget through the 1990s while also mentoring and supporting a future president—George W. Bush.
In this lively, yet thoroughly researched biography, award-winning journalists Dave McNeely and Jim Henderson craft a well-rounded portrait of Bob Bullock, underscoring both his political adroitness and his personal demons. They trace Bullock's rise through state government as Assistant Attorney General, Secretary of State, State Comptroller, and Lieutenant Governor, showing how he increased the power of every office he held. The authors spotlight Bullock's substantial achievements, which included hiring an unprecedented number of women and minorities, instituting a performance review to increase the efficiency of state agencies, restructuring the public school funding system, and creating the state's first water conservation and management plan.
The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa's impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.
Bridging is divided into five sections: The New Mestizas: "transitions and transformations"; Exposing the Wounds: "You gave me permission to fly in the dark"; Border Crossings: Inner Struggles, Outer Change; Bridging Theories: Intellectual Activism with/in Borders; and "Todas somos nos/otras": Toward a "politics of openness." Contributors, who include Norma Elia Cantú, Elisa Facio, Shelley Fisher Fishkin, Aída Hurtado, Andrea Lunsford, Denise Segura, Gloria Steinem, and Mohammad Tamdgidi, represent a broad range of generations, professions, academic disciplines, and national backgrounds. Critically engaging with Anzaldúa's theories and building on her work, they use virtual diaries, transformational theory, poetry, empirical research, autobiographical narrative, and other genres to creatively explore and boldly enact future directions for Anzaldúan studies.
A book whose form and content reflect Anzaldúa's diverse audience, Bridging perpetuates Anzaldúa's spirit through groundbreaking praxis and visionary insights into culture, gender, sexuality, religion, aesthetics, and politics. This is a collection whose span is as broad and dazzling as Anzaldúa herself.
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