Blanche Lazzell went from Maidsville, West Virginia, to the leading edge of twentieth-century American art. A member of the prominent art communities of Paris and Provincetown, MA during the '20s and '30s, Lazzell was always on the fringe of important developments in the modern art world. Her studies in Paris led her to adopt the techniques of modernism as well as other emerging styles. Among her groundbreaking works were some of the first examples of abstraction in America. Blanche Lazzell: The Life and Work of an American Modernist is a significant contribution to the history of twentieth-century American art.
Know primarily as a Provincetown printmaker, Lazzell’s full life and career are presented here, generously accompanied by color reproductions of her work, showing the breadth of her accomplishment in painting, printmaking, and hooked rugs. Lazzell's true contribution to American art history was never fully appreciated during her lifetime. A renewed interest in the artist has developed over the past fifteen years, due mostly to the critical appreciation of her color wood block prints. She is worth remembering not only for her own work, but also for her role as a translator of the achievements of the European modernists for her colleagues in America. In Blanche Lazzell: The Life and Work of an American Modernist, nine essays and hundreds of full-color illustrations bring this incredibly talented and influential artist's work to life.
Blank verse—unrhymed iambic pentameter—is familiar to many as the form of Shakespeare’s plays and Milton’s Paradise Lost. Since its first use in English in the sixteenth century, it has provided poets with a powerful and versatile metrical line, enabling the creation of some of the most memorable poems of Wordsworth, Keats, Tennyson, Frost, Stevens, Wilbur, Nemerov, Hecht, and a host of others. A protean meter, blank verse lends itself to lyric, dramatic, narrative, and meditative modes; to epigram as well as to epic. Blank Verse is the first book since 1895 to offer a detailed study of the meter’s technical features and its history, as well as its many uses. Robert B. Shaw gives ample space and emphasis to the achievements of modern and postmodern poets working in the form, an area neglected until now by scholarship.
With its compact but inclusive survey of more than four centuries of poetry, Blank Verse is filled with practical advice for poets of our own day who may wish to attempt the form or enhance their mastery of it. Enriched with numerous examples, Shaw’s discussions of verse technique are lively and accessible, inviting not only to apprentice poets but to all readers of poetry.
Shaw’s approach should reassure those who find prosody intimidating, while encouraging specialists to think more broadly about how traditional poetic forms can be taught, learned, practiced, and appreciated in the twenty-first century. Besides filling a conspicuous gap in literary history, Blank Verse points the way ahead for poets interested in exploring blank verse and its multitude of uses.
During much of his career, anthropologist Joe Ben Wheat (1916-1997) earned a reputation as a preeminent authority on southwestern and plains prehistory. Beginning in 1972, he turned his scientific methods and considerable talents to historical questions as well. He visited dozens of museums to study thousands of nineteenth-century textiles, oversaw chemical tests of dyes from hundreds of yarns, and sought out obscure archives to research the material and documentary basis for textile development. His goal was to establish a key for southwestern textile identification based on the traits that distinguish the Pueblo, Navajo, and Spanish American blanket weaving traditions—and thereby provide a better way of identifying and dating pieces of unknown origin.
Wheat's years of research resulted in a masterful classification scheme for southwestern textiles—and a book that establishes an essential baseline for understanding craft production. Nearly completed before Wheat's death, Blanket Weaving in the Southwest describes the evolution of southwestern textiles from the early historic period to the late nineteenth century, establishes a revised chronology for its development, and traces significant changes in materials, techniques, and designs.
Wheat first relates what Spanish observers learned about the state of native weaving in the region—a historical review that reveals the impact of new technologies and economies on a traditional craft. Subsequent chapters deal with fibers, yarns, dyes, and fabric structures—including an unprecedented examination of the nature, variety, and origins of bayeta yarns—and with tools, weaves, and finishing techniques.
A final chapter, constructed by editor Ann Hedlund from Wheat's notes, provides clues to his evolving ideas about the development of textile design. Hedlund—herself a respected textile scholar and a protégée of Wheat's—is uniquely qualified to interpret the many notes he left behind and brings her own understanding of weaving to every facet of the text. She has ensured that Wheat's research is applicable to the needs of scholars, collectors, and general readers alike. Throughout the text, Wheat discusses and evaluates the distinct traits of the three textile traditions. More than 200 photos demonstrate these features, including 191 color plates depicting a vast array of chief blankets, shoulder blankets, ponchos, sarapes, diyugi, mantas, and dresses from museum collections nationwide. In addition, dozens of line drawings demonstrate the fine points of technique concerning weaves, edge finishes, and corner tassels. Through his groundbreaking and painstaking research, Wheat created a new view of southwestern textile history that goes beyond any other book on the subject. Blanket Weaving in the Southwest addresses a host of unresolved issues in textile research and provides critical tools for resolving them. It is an essential resource for anyone who appreciates the intricacy of these outstanding creations.
Focusing on sugar communities in eastern and central Cuba, McGillivray recounts how farmers and workers pushed the Cuban government to move from exclusive to inclusive politics and back again. The revolutionary caudillo networks that formed between 1895 and 1898, the farmer alliances that coalesced in the 1920s, and the working-class groups of the 1930s affected both day-to-day local politics and larger state-building efforts. Not limiting her analysis to the island, McGillivray shows that twentieth-century Cuban history reflected broader trends in the Western Hemisphere, from modernity to popular nationalism to Cold War repression.
The Offenses Against the Person Act of 1828 opened magistrates' courts to abused working-class wives. Newspapers in turn reported on these proceedings, and in this way the Victorian scrutiny of domestic conduct began. But how did popular fiction treat “private” family violence? Bleak Houses: Marital Violence in Victorian Fiction traces novelists' engagement with the wife-assault debates in the public press between 1828 and the turn of the century.
Lisa Surridge examines the early works of Charles Dickens and reads Dombey and Son and Anne Brontë's The Tenant of Wildfell Hall in the context of the intense debates on wife assault and manliness in the late 1840s and early 1850s. Surridge explores George Eliot's Janet's Repentance in light of the parliamentary debates on the 1857 Divorce Act. Marital cruelty trials provide the structure for both Wilkie Collins's The Woman in White and Anthony Trollope's He Knew He Was Right.
Locating the New Woman fiction of Mona Caird and the reassuring detective investigations of Sherlock Holmes in the context of late-Victorian feminism and the great marriage debate in the Daily Telegraph, Surridge illustrates how fin-de-siècle fiction brought male sexual violence and the viability of marriage itself under public scrutiny. Bleak Houses thus demonstrates how Victorian fiction was concerned about the wife-assault debates of the nineteenth century, debates which both constructed and invaded the privacy of the middle-class home.
A philosophical and cultural distillation of the bleak joys in today’s ambivalent ecologies and patterns of life
Bleak Joys develops an understanding of complex entities and processes—from plant roots to forests to ecological damage and its calculation—as aesthetic. It is also a book about “bad” things, such as anguish and devastation, which relate to the ecological and technical but are also constitutive of politics, the ethical, and the formation of subjects.
Avidly interdisciplinary, Bleak Joys draws on scientific work in plant sciences, computing, and cybernetics, as well as mathematics, literature, and art in ways that are not merely illustrative of but foundational to our understanding of ecological aesthetics and the condition in which the posthumanities are being forged. It places the sensory world of plants next to the generalized and nonlinear infrastructure of irresolvability—the economics of indifference up against the question of how to make a home on Planet Earth in a condition of damaged ecologies. Crosscutting chapters on devastation, anguish, irresolvability, luck, plant, and home create a vivid and multifaceted approach that is as remarkable for its humor as for its scholarly complexity.
Engaging with Deleuze, Guattari, and Bakhtin, among others, Bleak Joys captures the modes of crises that constitute our present ecological and political condition, and reckons with the means by which they are not simply aesthetically known but aesthetically manifest.
Each of the suitors in the Odyssey is eager to become the king of Ithaca by marrying Penelope and disqualifying Telemachus from his rightful royal inheritance. Their words are contentious, censorious, and intent on marking Odysseus’ son as unfit for kingship. However, in keeping with other reversals in the Odyssey, it is the suitors who are shown to be unfit to rule.
In Blemished Kings, Andrea Kouklanakis interprets the language of the suitors—their fighting words—as Homeric expressions of reproach and critique against unsuitable kings. She suggests that the suitors’ disparaging expressions, and the refutations they provoke from Telemachus and from Odysseus himself, rest on the ideology whereby a blemished king cannot rule. Therefore, the suitors vehemently reject Telemachus’ suggestion that they are to be blamed. She shows that in the Odyssey there is linguistic and semantic evidence for the concept that blame poetry can physically blemish, hence disqualify, rulers. In her comparative approach, Kouklanakis looks towards the regulatory role of satire in early Irish law and myth, particularly the taboo against a blemished-face king, offering thereby a socio-poetic context for the suitors’ struggles for kingship.
Winner of the 2020 Cave Canem Northwestern University Press Poetry Prize
At once interested in the cyclical nature of domestic dysfunction and what we do when secrets of buried harm come to light, Blessed Are the Peacemakers asks what it means to make peace in the wake of intrafamilial violence and child sexual assault. These poems explore the ways the truth is often hidden behind layers of bleach and shame, and the ways we fail survivors by dismissing their stories and tolerating their abusers.
Filled with elegies to the people who have been murdered by state violence, racism, and anti-Blackness in the United States, Blessed Are the Peacemakers interrogates the lengths and limitations of grace. Brionne Janae examines what it means to survive—particularly as a Black girl, woman, queer person, or human—and uses self-portraiture to explore how familial and communal trauma plague our mental health. How do we survive the grief of the past and present without becoming numb to or consumed by it? How do we remember, despite our pain, to enjoy our bodies and our lives while we still have them?
Blessing the Exoskeleton is a southerner’s book about Michigan. Written over a two-year period in Kalamazoo, Andrew Hemmert’s poems address climate change, labor, love, and his attempts to live joyfully in a deteriorating world. Though the majority of these poems are narrative, they approach their stories in roundabout and slanted ways. A meditation on job seeking begets a story about the author’s father attempting to catch an owl in a fishing net. A fire down the road from the author’s apartment begets a meditation on telemarketing. Personal histories collide with headlines, resulting in poems that convey everyday experience and seek to praise it. Despite the northern cold and the tyranny of the news, Hemmert develops his own theories for navigating his life, finding beauty in an unfamiliar landscape and climate.
In the literature and aesthetic theory of modern times, we have witnessed the revival of the claim that the conventions and artifices of civilization are the source of many ills. Far from establishing harmonious relationships between individuals, they have sometimes legitimized forms of violence and oppression. But while conventions and artifices may be a source of evil, they are also a means by which evils can be reduced or overcome.
One of our greatest living critics, Jean Starobinski pursues this line of reflection by taking us back to the thought of the eighteenth century. Civilization, he argues, has always been entangled with barbarism. As a form of politeness, a refinement of manners, civilization was said to legitimize deceit. But aren’t the conventions of civilized living, however objectionable, a blessing in disguise? It is the task of art, he contends, to make the most of these conventions, to use the very disguises of civilization to counter the barbarism they mask. Tracing this idea through seventeenth- and eighteenth-century French literature, Starobinski charts the historical and intellectual limits of criticism itself.
These reflections are nourished by a series of sensitive and perceptive studies: the use of the word "civilization" in the Age of Enlightenment; the classical doctrine of civility and the art of flattery; fable and mythology in the seventeenth and eighteenth centuries; the relations between exile, satire, and tyranny in Montesquieu; philosophy and style in the writings of Voltaire; and the search for the remedy of the disease in the thought of Rosseau. A development and refinement of themes that have preoccupied Starobinski throughout his career, Blessings in Disguise is criticism at its best, testing its own limits and extending ours.
Bringing sex and philosophy together on a blind date, Anne Dufourmantelle’s provocative study uses this analogy to uncover and examine philosophy’s blind spot. Delightful and startling comparisons spring from the date: both sex and philosophy are dangerous, both are socially subversive, and both are obsessions. Although sex and philosophy have much in common, however, they have scarcely known one another until now.
Socrates and Diogenes had little to say about sex, and although it was notoriously explored by the Marquis de Sade, this study explains why philosophy has never been fully sexualized nor sex really philosophized. Blind Date highlights the marked deletion of sexual topics and themes from philosophical works, while also opening doors for their union. Inviting readers to remember that thought does not require repressed desire, Dufourmantelle argues that sex is everywhere, and it affects all kinds of thinking.
As a young blind girl, Georgina Kleege repeatedly heard the refrain, “Why can’t you be more like Helen Keller?” Kleege’s resentment culminates in her book Blind Rage: Letters to Helen Keller, an ingenious examination of the life of this renowned international figure using 21st-century sensibilities. Kleege’s absorption with Keller originated as an angry response to the ideal of a secular saint, which no real blind or deaf person could ever emulate. However, her investigation into the genuine person revealed that a much more complex set of characters and circumstances shaped Keller’s life.
Blind Rage employs an adroit form of creative nonfiction to review the critical junctures in Keller’s life. The simple facts about Helen Keller are well-known: how Anne Sullivan taught her deaf-blind pupil to communicate and learn; her impressive career as a Radcliffe graduate and author; her countless public appearances in various venues, from cinema to vaudeville, to campaigns for the American Foundation for the Blind. But Kleege delves below the surface to question the perfection of this image. Through the device of her letters, she challenges Keller to reveal her actual emotions, the real nature of her long relationship with Sullivan, with Sullivan’s husband, and her brief engagement to Peter Fagan. Kleege’s imaginative dramatization, distinguished by her depiction of Keller’s command of abstract sensations, gradually shifts in perspective from anger to admiration. Blind Rage criticizes the Helen Keller myth for prolonging an unrealistic model for blind people, yet it appreciates the individual who found a practical way to live despite the restrictions of her myth.
Not since Don DeLillo and George Saunders has a writer caught the humor and irreverent seriousness of our time like Barkan has through his protagonist Paul Berger, a flawed hero whose so-called fate drives him toward enlightenment just as surely as it propels him to destruction. Berger is stunned when he receives an ominous palm reading from a savvy guru at a health retreat in Iowa, of all places. And now it seems the prophecy is coming true. His fiancée, who is about to leave him, is shot at a historic reenactment of the Revolutionary War in Concord. One of his brothers, an astronaut, dies on 9/11 in the Pentagon. And his more famous brother, a lawyer and politician, kidnaps him in a media campaign to win an election. But is Paul’s life really controlled by fate? Or is the prophecy a lie he has latched onto ever since his band went under, leaving him almost famous yet unknown—a teacher at a community college, struggling to keep his job?
Blind Speed is a wildly entertaining exploration of intersecting lives in which what happens is never solely by chance or choice. Barkan has built a uniquely American satirical novel, a thoroughly twisted journey of discovery that pops and fires from its first shot in Concord to its last rifle blast, which echoes across the heartland. With global warming, 9/11, government and corporate deceit, and ecoterrorism, the novel dives into epic ideas, capturing America in all its dangerous myths.
At a time when globalization is taking a step backward, what’s the best way to organize a global enterprise? The key, explains political economist Steven Weber, is to prepare for a world increasingly made up of competing regions defined by their own rules and standards.
Globalization has taken a hit as trade wars and resistance to mass migrations dominate headlines. Are we returning to the old world of stand-alone nations? Political economist Steven Weber argues that we are heading toward something new. Global connectedness will not dissolve but will be defined by “regional” blocs, demarcated more by the rules and standards they follow than by territory. For leaders of firms and NGOs with global ambitions, navigating this transformation is the strategic challenge of the decade.
Not long ago, we thought the world was flattening out, offering a level playing field to organizations striving for worldwide reach. As global economic governance expanded, firms shifted operations to wherever was most efficient—designing in one country and buying, manufacturing, and selling in others. Today, the world looks bumpier, with rising protectionism, national struggles over data control, and tensions over who should set worldwide standards. Expect emerging regional blocs to be dominated by the major rule-makers: the US, China, and possibly the EU. Firms and NGOs will need to remake themselves by building complete, semi-independent organizations in each region. Every nation will choose which rule-maker it wants to align with, and it may not be the one next door. This new world has the potential to be more prosperous, Weber argues, but friction between the dynamics of geography and technology will make it more risky.
Pioneering research, creative thinking, and colorful storytelling from the frontlines of the global economy combine to make this a must-read for leaders and analysts facing tomorrow’s world.
A readable, exciting chronicle of the men and ships that ran federal naval blockades during the Civil War
Within four weeks of the fall of Fort Sumter, President Abraham Lincoln had declared a blockade of over four thousand miles of Confederate coastline, from Cape Henry in Virginia to the Mexican border. In response, professional runners, lured by both profits and patriotism, built faster, sleeker, low-profile ships and piloted them through the ever-thickening Northern cordon. The tonnage they imported, including items ranging from straight pins to marine engines, sustained the South throughout the conflict. This exciting chronicle of the men and ships that ran federal naval blockades during the Civil War also provides an overall assessment of the blockades conception, effectiveness, and impact on the Southern populace.
To understand border enforcement and the shape it has taken, it is imperative to examine a groundbreaking Border Patrol operation begun in 1993 in El Paso, Texas, "Operation Blockade." The El Paso Border Patrol designed and implemented this radical new strategy, posting 400 agents directly on the banks of the Rio Grande in highly visible positions to deter unauthorized border crossings into the urban areas of El Paso from neighboring Ciudad Juárez—a marked departure from the traditional strategy of apprehending unauthorized crossers after entry. This approach, of "prevention through deterrence," became the foundation of the 1994 and 2004 National Border Patrol Strategies for the Southern Border. Politically popular overall, it has rendered unauthorized border crossing far less visible in many key urban areas. However, the real effectiveness of the strategy is debatable, at best. Its implementation has also led to a sharp rise in the number of deaths of unauthorized border crossers.
Here, Dunn examines the paradigm-changing Operation Blockade and related border enforcement efforts in the El Paso region in great detail, as well as the local social and political situation that spawned the approach and has shaped it since. Dunn particularly spotlights the human rights abuses and enforcement excesses inflicted on local Mexican Americans and Mexican immigrants as well as the challenges to those abuses. Throughout the book, Dunn filters his research and fieldwork through two competing lenses, human rights versus the rights of national sovereignty and citizenship.
This book in the Library Futures Series examines blockchain technology, a concept with far-reaching implications for the future of the information professions. Blockchain uses a distributed database (multiple devices not connected to a common processor) that organizes data into records (blocks) that have cryptographic validation. The data are timestamped and linked to previous records so that they can only be changed by those who own the encryption keys to write to the files. In this book, editors Hirsh and Alman offer a primer of what librarians and information professionals need to understand about blockchain technology. Several speculative visions for how blockchain could support the core work of libraries are included to help librarians understand the possibilities for improved operations and services. Featuring essays from a range of information professionals who have interest and experience in blockchain technologies, this book presents valuable ideas for exploration relevant to everyone interested in the future of librarianship.
“Blockchains will matter crucially; this book, beautifully and clearly written for a wide audience, powerfully demonstrates how.”
—Lawrence Lessig
“Attempts to do for blockchain what the likes of Lawrence Lessig and Tim Wu did for the Internet and cyberspace—explain how a new technology will upend the current legal and social order… Blockchain and the Law is not just a theoretical guide. It’s also a moral one.”
—Fortune
Bitcoin has been hailed as an Internet marvel and decried as the preferred transaction vehicle for criminals. It has left nearly everyone without a computer science degree confused: how do you “mine” money from ones and zeros?
The answer lies in a technology called blockchain. A general-purpose tool for creating secure, decentralized, peer-to-peer applications, blockchain technology has been compared to the Internet in both form and impact. Blockchains are being used to create “smart contracts,” to expedite payments, to make financial instruments, to organize the exchange of data and information, and to facilitate interactions between humans and machines. But by cutting out the middlemen, they run the risk of undermining governmental authorities’ ability to supervise activities in banking, commerce, and the law. As this essential book makes clear, the technology cannot be harnessed productively without new rules and new approaches to legal thinking.
“If you…don’t ‘get’ crypto, this is the book-length treatment for you.”
—Tyler Cowen, Marginal Revolution
“De Filippi and Wright stress that because blockchain is essentially autonomous, it is inflexible, which leaves it vulnerable, once it has been set in motion, to the sort of unforeseen consequences that laws and regulations are best able to address.”
—James Ryerson, New York Times Book Review
In Blood and Boundaries, Stuart B. Schwartz takes us to late medieval Latin America to show how Spain and Portugal’s policies of exclusion and discrimination based on religious origins and genealogy were transferred to their colonies in Latin America. Rather than concentrating on the three principal divisions of colonial society—Indians, Europeans, and people of African origins—as is common in studies of these colonial societies, Schwartz examines the three minority groups of moriscos, conversos, and mestizos. Muslim and Jewish converts and their descendants, he shows, posed a special problem for colonial society: they were feared and distrusted as peoples considered ethnically distinct, but at the same time their conversion to Christianity seemed to violate stable social categories and identities. This led to the creation of “cleanliness of blood” regulations that explicitly discriminated against converts. Eventually, Schwartz shows, those regulations were extended to control the subject indigenous and enslaved African populations, and over time, applied to the growing numbers of mestizos, peoples of mixed ethnic origins. Despite the efforts of civil and church and state institutions to regulate, denigrate, and exclude, members of these affected groups often found legal and practical means to ignore, circumvent, or challenge the efforts to categorize and exclude them, creating in the process the dynamic societies of Latin America that emerged in the nineteenth century.
WOLA-Duke Book Award Finalist
In Blood and Capital: The Paramilitarization of Colombia, Jasmin Hristov examines the complexities, dynamics, and contradictions of present-day armed conflict in Colombia. She conducts an in-depth inquiry into the restructuring of the state’s coercive apparatus and the phenomenon of paramilitarism by looking at its military, political, and legal dimensions. Hristov demonstrates how various interrelated forms of violence by state forces, paramilitary groups, and organized crime are instrumental to the process of capital accumulation by the local elite as well as the exercise of political power by foreign enterprises. She addresses, as well, issues of forced displacement, proletarianization of peasants, concentration of landownership, growth in urban and rural poverty, and human rights violations in relation to the use of legal means and extralegal armed force by local dominant groups and foreign companies.
Hristov documents the penetration of major state institutions by right-wing armed groups and the persistence of human rights violations against social movements and sectors of the low-income population. Blood and Capital raises crucial questions about the promised dismantling of paramilitarism in Colombia and the validity of the so-called demobilization of paramilitary groups, both of which have been widely considered by North American and some European governments as proof of Colombian president Álvaro Uribe’s advances in the wars on terror and drugs.
Miller-Idriss describes a new understanding of national belonging emerging among young Germans—one in which cultural assimilation takes precedence over blood or ethnic heritage. Moreover, she argues that teachers’ well-intentioned, state-sanctioned efforts to counter nationalist pride often create a backlash, making radical right-wing groups more appealing to their students. Miller-Idriss argues that the state’s efforts to shape national identity are always tempered and potentially transformed as each generation reacts to the official conception of what the nation “ought” to be.
Diamonds have long been bloody. A new history shows how Germany’s ruthless African empire brought diamond rings to retail display cases in America—at the cost of African lives.
Since the late 1990s, activists have campaigned to remove “conflict diamonds” from jewelry shops and department stores. But if the problem of conflict diamonds—gems extracted from war zones—has only recently generated attention, it is not a new one. Nor are conflict diamonds an exception in an otherwise honest industry. The modern diamond business, Steven Press shows, owes its origins to imperial wars and has never escaped its legacy of exploitation.
In Blood and Diamonds, Press traces the interaction of the mass-market diamond and German colonial domination in Africa. Starting in the 1880s, Germans hunted for diamonds in Southwest Africa. In the decades that followed, Germans waged brutal wars to control the territory, culminating in the genocide of the Herero and Nama peoples and the unearthing of vast mineral riches. Press follows the trail of the diamonds from the sands of the Namib Desert to government ministries and corporate boardrooms in Berlin and London and on to the retail counters of New York and Chicago. As Africans working in terrifying conditions extracted unprecedented supplies of diamonds, European cartels maintained the illusion that the stones were scarce, propelling the nascent US market for diamond engagement rings. Convinced by advertisers that diamonds were both valuable and romantically significant, American purchasers unwittingly funded German imperial ambitions into the era of the world wars.
Amid today’s global frenzy of mass consumption, Press’s history offers an unsettling reminder that cheap luxury often depends on an alliance between corporate power and state violence.
In the late eighteenth and early nineteenth centuries, Algerian piracy in the Mediterranean loomed large in the American imagination. An estimated seven hundred American citizens, sailors, and naval officers were taken captive over the course of the Barbary Crises (1784–1815), and this overseas danger threatened to grow and irreparably harm the young republic.
Blood and Ink reconstructs the largely forgotten influence of these early American conflicts with North Africa on notions of publicity, print culture, and racial and national identity from independence to the Civil War. Exploring the extensive archive of texts inspired by the conflicts—from captivity narratives, novels, plays, and poems to broadsides, travel narratives, children’s literature, newspaper articles, and visual ephemera—Jacob Crane connects anxieties surrounding North African piracy and white slavery to both the development of American abolitionism and representations of transatlantic African and Jewish identities in the early national and antebellum periods.
From the center of Imperial Rome to the farthest reaches of ancient Britain, Gaul, and Spain, amphitheaters marked the landscape of the Western Roman Empire. Built to bring Roman institutions and the spectacle of Roman power to conquered peoples, many still remain as witnesses to the extent and control of the empire.
In this book, Alison Futrell explores the arena as a key social and political institution for binding Rome and its provinces. She begins with the origins of the gladiatorial contest and shows how it came to play an important role in restructuring Roman authority in the later Republic. She then traces the spread of amphitheaters across the Western Empire as a means of transmitting and maintaining Roman culture and control in the provinces.
Futrell also examines the larger implications of the arena as a venue for the ritualized mass slaughter of human beings, showing how the gladiatorial contest took on both religious and political overtones. This wide-ranging study, which draws insights from archaeology and anthropology, as well as Classics, broadens our understanding of the gladiatorial contest and its place within the highly politicized cult practice of the Roman Empire.
The story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album
When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. “When something’s not right, it’s wrong,” as Dylan puts it in “You’re Gonna Make Me Lonesome When You Go”—and something about that original recording led him to a studio in his native Minnesota to re-record five songs, including “Idiot Wind” and “Tangled Up in Blue.” Six Minnesota musicians participated in that two-night recording session at Sound 80, bringing their unique sound to some of Dylan’s best-known songs—only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, introduces the musicians who gave the album so much of its ultimate form and sound, and describes their decades-long fight for recognition.
Blood in the Tracks takes readers behind the scenes with these “mystery” Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan’s until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and then set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work required to finally obtain the official credit that they were due.
A rare look at the making—or remaking—of an all-time great album, and a long overdue recognition of the musicians who made it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players.
Winner of the 2002 Booker Worthen Literary Prize
American Association of State and Local History Award 2003
Written with verve over a period of twenty years, these essays—most translated into English here for the first time—suggest why Bartra has become one of Latin America’s leading public intellectuals. The essays cover a broad range of topics, from the canonical forms of Mexican culture to the meaning of postnational identity in a globalizing age, from the repercussions of the 1994 Zapatista uprising to the 2000 election of Vicente Fox and the end of the PRI’s seven-decade rule. Across this range of topics, Bartra imparts astute insights into a critical period of transition in Mexican history, stressing throughout the importance of democracy, the complexity of identity, and the vibrancy of the Left. In Blood, Ink, and Culture, he provides a stimulating inside look at political and intellectual life in the southern reaches of North America.
Alan Dundes, in this casebook of an anti-Semitic legend, demonstrates the power of folklore to influence thought and history. According to the blood libel legend, Jews murdered Christian infants to obtain blood to make matzah. Dundes has gathered here the work of leading scholars who examine the varied sources and elaborations of the legend. Collectively, their essays constitute a forceful statement against this false accusation.
The legend is traced from the murder of William of Norwich in 1144, one of the first reported cases of ritualized murder attributed to Jews, through nineteenth-century Egyptian reports, Spanish examples, Catholic periodicals, modern English instances, and twentieth-century American cases. The essays deal not only with historical cases and surveys of blood libel in different locales, but also with literary renditions of the legend, including the ballad “Sir Hugh, or, the Jew’s Daughter” and Chaucer’s “The Prioress’s Tale.”
These case studies provide a comprehensive view of the complex nature of the blood libel legend. The concluding section of the volume includes an analysis of the legend that focuses on Christian misunderstanding of the Jewish feast of Purim and the child abuse component of the legend and that attempts to bring psychoanalytic theory to bear on the content of the blood libel legend. The final essay by Alan Dundes takes a distinctly folkloristic approach, examining the legend as part of the belief system that Christians developed about Jews.
This study of the blood libel legend will interest folklorists, scholars of Catholicism and Judaism, and many general readers, for it is both the literature and the history of anti-Semitism.
A landmark history of the antisemitic blood libel myth—how it took root in Europe, spread with the invention of the printing press, and persists today.
Accusations that Jews ritually killed Christian children emerged in the mid-twelfth century, following the death of twelve-year-old William of Norwich, England, in 1144. Later, continental Europeans added a destructive twist: Jews murdered Christian children to use their blood. While charges that Jews poisoned wells and desecrated the communion host waned over the years, the blood libel survived.
Initially blood libel stories were confined to monastic chronicles and local lore. But the development of the printing press in the mid-fifteenth century expanded the audience and crystallized the vocabulary, images, and “facts” of the blood libel, providing a lasting template for hate. Tales of Jews killing Christians—notably Simon of Trent, a toddler whose body was found under a Jewish house in 1475—were widely disseminated using the new technology. Following the paper trail across Europe, from England to Italy to Poland, Magda Teter shows how the blood libel was internalized and how Jews and Christians dealt with the repercussions.
The pattern established in early modern Europe still plays out today. In 2014 the Anti-Defamation League appealed to Facebook to take down a page titled “Jewish Ritual Murder.” The following year white supremacists gathered in England to honor Little Hugh of Lincoln as a sacrificial victim of the Jews. Based on sources in eight countries and ten languages, Blood Libel captures the long shadow of a pernicious myth.
The ritual murder accusation is one of a series of myths that fall under the label blood libel, and describes the medieval legend that Jews require Christian blood for obscure religious purposes and are capable of committing murder to obtain it. This malicious myth continues to have an explosive afterlife in the public sphere, where Sarah Palin's 2011 gaffe is only the latest reminder of its power to excite controversy. Blood Libel is the first book-length study to analyze the recent historiography of the ritual murder accusation and to consider these debates in the context of intellectual and cultural history as well as methodology. Hannah R. Johnson articulates how ethics shapes methodological decisions in the study of the accusation and how questions about methodology, in turn, pose ethical problems of interpretation and understanding. Examining recent debates over the scholarship of historians such as Gavin Langmuir, Israel Yuval, and Ariel Toaff, Johnson argues that these discussions highlight an ongoing paradigm shift that seeks to reimagine questions of responsibility by deliberately refraining from a discourse of moral judgment and blame in favor of an emphasis on historical contingencies and hostile intergroup dynamics.
2009 — Runner-up, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies
Blood Lines: Myth, Indigenism, and Chicana/o Literature examines a broad array of texts that have contributed to the formation of an indigenous strand of Chicano cultural politics. In particular, this book exposes the ethnographic and poetic discourses that shaped the aesthetics and stylistics of Chicano nationalism and Chicana feminism. Contreras offers original perspectives on writers ranging from Alurista and Gloria Anzaldúa to Lorna Dee Cervantes and Alma Luz Villanueva, effectively marking the invocation of a Chicano indigeneity whose foundations and formulations can be linked to U.S. and British modernist writing.
By highlighting intertextualities such as those between Anzaldúa and D. H. Lawrence, Contreras critiques the resilience of primitivism in the Mexican borderlands. She questions established cultural perspectives on "the native," which paradoxically challenge and reaffirm racialized representations of Indians in the Americas. In doing so, Blood Lines brings a new understanding to the contradictory and richly textured literary relationship that links the projects of European modernism and Anglo-American authors, on the one hand, and the imaginary of the post-revolutionary Mexican state and Chicano/a writers, on the other hand.
In 1976, at age twenty-five, Stephen Kinzer arrived in Nicaragua as a freelance journalist—and became a witness to history. He returned many times during the years that followed, becoming Latin America correspondent for the Boston Globe in 1981 and joining the foreign staff of the New York Times in 1983. That year he opened the New York Times Managua bureau, making that newspaper the first daily in America to maintain a full-time office in Nicaragua.
Widely considered the best-connected journalist in Central America, Kinzer personally met and interviewed people at every level of the Somoza, Sandinistas and contra hierarchies, as well as dissidents, heads of state, and countless ordinary citizens throughout the region.
Blood of Brothers is Kinzer’s dramatic story of the centuries-old power struggle that burst into the headlines in 1979 with the overthrow of the Somoza dictatorship. It is a vibrant portrait of the Nicaraguan people and their volcanic land, a cultural history rich in poetry and bloodshed, baseball and insurrection.
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