Where is the line that separates the “normal” from the “abnormal”? Liubov, a young Ukrainian woman of small nobility, struggles with this question in Lesia Ukrainka’s The Blue Rose. Living in Ukraine at the turn of the twentieth century, she finds herself outside the norms for a woman: she reads “thick books,” follows music and art, and is interested in science and psychology. She hosts a salon and challenges men in discussions about politics and culture. Liubov is also an orphan whose mother died in an asylum, and she worries about inheriting her mother’s disease as well as passing it on to future children. When Liubov falls in love with Orest, she proposes a radical solution to her dilemma: to pursue something as rare as a blue flower—“pure love” that foregoes the physical and abandons the requirement of marriage and motherhood.
In her commanding debut as a playwright, Ukrainka created a deep psychological rendering of an unattainable ideal. The Blue Rose highlights themes such as women’s struggles for liberation, social progress and its reliance on science, and resistance to change in traditional societies. Written in sophisticated Ukrainian, Ukrainka’s nuanced play helped Ukrainian culture break free of the Russian imperial mold that sought to first provincialize and then erase it. Presented here in contemporary English translation, The Blue Rose illuminates Ukraine’s intellectual history and its connections with Western culture.
Where is the line that separates the “normal” from the “abnormal”? Liubov, a young Ukrainian woman of small nobility, struggles with this question in Lesia Ukrainka’s The Blue Rose. Living in Ukraine at the turn of the twentieth century, she finds herself outside the norms for a woman: she reads “thick books,” follows music and art, and is interested in science and psychology. She hosts a salon and challenges men in discussions about politics and culture. Liubov is also an orphan whose mother died in an asylum, and she worries about inheriting her mother’s disease as well as passing it on to future children. When Liubov falls in love with Orest, she proposes a radical solution to her dilemma: to pursue something as rare as a blue flower—“pure love” that foregoes the physical and abandons the requirement of marriage and motherhood.
In her commanding debut as a playwright, Ukrainka created a deep psychological rendering of an unattainable ideal. The Blue Rose highlights themes such as women’s struggles for liberation, social progress and its reliance on science, and resistance to change in traditional societies. Written in sophisticated Ukrainian, Ukrainka’s nuanced play helped Ukrainian culture break free of the Russian imperial mold that sought to first provincialize and then erase it. Presented here in contemporary English translation, The Blue Rose illuminates Ukraine’s intellectual history and its connections with Western culture.
Bluegrass Breakdown is an expansive foray into the makings of bluegrass. More than any other book of its kind, it gets to the roots of a uniquely American music that is deeply linked to working-class ideals and romanticism.
Robert Cantwell engages the historical background, commercial origins, internal workings, and cultural and social significance of popular, old-time music to provide a unique musicological and sociological perspective. Well-versed in the history of the tradition and equally as interested in those who listen to the music as in those who create it, Cantwell links bluegrass to its hillbilly roots in Appalachia and shows how the music was transformed by African American folk traditions, the influence of jazz, ragtime, blues, and country music, and the growth of radio and recording technology.
Rosenberg's memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass's emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life--and helped turn him into bluegrass's foundational figure.
An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be.
Goldsmith’s substantial introduction describes and traces the development of the music from its origins in Anglo-American folk tradition, overlaid with African American influences, to the breakout popularity of Ralph Stanley, Alison Krauss, and the O Brother, Where Art Thou? soundtrack. He introduces each selection offering a wealth of additional information, making The Bluegrass Reader both enjoyable and invaluable for new fans of the music as well as for its lifetime devotees.
Now considered a dysfunctional mess, Chicago’s public housing projects once had long waiting lists of would-be residents hoping to leave the slums behind. So what went wrong? To answer this complicated question, D. Bradford Hunt traces public housing’s history in Chicago from its New Deal roots through current mayor Richard M. Daley’s Plan for Transformation. In the process, he chronicles the Chicago Housing Authority’s own transformation from the city’s most progressive government agency to its largest slumlord.
Challenging explanations that attribute the projects’ decline primarily to racial discrimination and real estate interests, Hunt argues that well-intentioned but misguided policy decisions—ranging from design choices to maintenance contracts—also paved the road to failure. Moreover, administrators who fully understood the potential drawbacks did not try to halt such deeply flawed projects as Cabrini-Green and the Robert Taylor Homes. These massive high-rise complexes housed unprecedented numbers of children but relatively few adults, engendering disorder that pushed out the working class and, consequently, the rents needed to maintain the buildings. The resulting combination of fiscal crisis, managerial incompetence, and social unrest plunged the CHA into a quagmire from which it is still struggling to emerge.
Blueprint for Disaster, then,is an urgent reminder of the havoc poorly conceived policy can wreak on our most vulnerable citizens.
Naomi R Williams traces the journeys of two local activists to highlight how people can support democracy and economic freedom in the twenty-first century. In Racine, ideas of class and race shifted but remained strong. The broad-based class politics that emerged drew on racial analysis, vigilant organizing, and agile labor leadership that organized more people. Unionized workers in turn won political power while uniting to resist conservative and corporate attacks. Charting Racine’s transition, Williams breaks down how worker solidarity persevered and presents lessons that can provide valuable guidance for today’s generation of activists.
How does one bring poetry to a community? And who is going to make it happen? In response to these questions posed by the Harriet Monroe Poetry Institute, Katharine Coles and a cadre of poets and artists provide this essential guide and inspiration. Blueprints creates for poets and arts organizers the sense that they are part of a larger, noble endeavor based in shared values and commitment to poetry. The first three sections include essays by a dozen poets and artists about the ways they have brought poetry into different kinds of communities. These essays demonstrate what has been done and what can be done and will inspire others to bring poetry into their own communities. The final section provides a practical "toolkit" loaded with experience-based advice and the tools and strategies necessary to acocmplish those endeavors.
Essayists:
Elizabeth Alexander
Sherwin Bitsui
Lee Briccetti
Alison Hawthorne Deming
Dana Gioia
Robert Hass
Bas Kwakman
Thomas Lux
Christopher Merrill
Luis Rodriguez
Anna Deavere Smith
Patricia Smith
Contributors to the Toolkit:
Elizabeth Allen
Susan Boskoff
Katharine Coles
Tree Swenson
Orlando White
Most Americans assume that shared genes or blood relationships provide the strongest basis for family. What can adoption tell us about this widespread belief and American kinship in general? Blue-Ribbon Babies and Labors of Love examines the ways class, gender, and race shape public and private adoption in the United States. Christine Ward Gailey analyzes the controversies surrounding international, public, and transracial adoption, and how the political and economic dynamics that shape adoption policies and practices affect the lives of people in the adoption nexus: adopters, adoptees, birth parents, and agents within and across borders. Interviews with white and African-American adopters, adoption social workers, and adoption lawyers, combined with her long-term participant-observation in adoptive communities, inform her analysis of how adopters' beliefs parallel or diverge from the dominant assumptions about kinship and family. Gailey demonstrates that the ways adoptive parents speak about their children vary across hierarchies of race, class, and gender. She shows that adopters' notions about their children's backgrounds and early experiences, as well as their own "family values," influence child rearing practices. Her extensive interviews with 131 adopters reveal profoundly different practices of kinship in the United States today.
Moving beyond the ideology of "blood is thicker than water," Gailey presents a new way of viewing kinship and family formation, suitable to times of rapid social and cultural change.
This collection assembles the best interviews from Steve Cushing's long-running radio program Blues Before Sunrise, the nationally syndicated, award-winning program focusing on vintage blues and R&B. As both an observer and performer, Cushing has been involved with the blues scene in Chicago for decades. His candid, colorful interviews with prominent blues players, producers, and deejays reveal the behind-the-scenes world of the formative years of recorded blues. Many of these oral histories detail the careers of lesser-known but greatly influential blues performers and promoters.
The book focuses in particular on pre–World War II blues singers, performers active in 1950s Chicago, and nonperformers who contributed to the early blues world. Interviewees include Alberta Hunter, one of the earliest African American singers to transition from Chicago's Bronzeville nightlife to the international spotlight, and Ralph Bass, one of the greatest R&B producers of his era. Blues expert, writer, record producer, and cofounder of Living Blues Magazine Jim O'Neal provides the book's foreword.
As one of the first African American vocalists to be recorded, Bessie Smith is a prominent figure in American popular culture and African American history. Michelle R. Scott uses Smith's life as a lens to investigate broad issues in history, including industrialization, Southern rural to urban migration, black community development in the post-emancipation era, and black working-class gender conventions.
Arguing that the rise of blues culture and the success of female blues artists like Bessie Smith are connected to the rapid migration and industrialization in the late nineteenth and early twentieth centuries, Scott focuses her analysis on Chattanooga, Tennessee, the large industrial and transportation center where Smith was born. This study explores how the expansion of the Southern railroads and the development of iron foundries, steel mills, and sawmills created vast employment opportunities in the postbellum era. Chronicling the growth and development of the African American Chattanooga community, Scott examines the Smith family's migration to Chattanooga and the popular music of black Chattanooga during the first decade of the twentieth century, and culminates by delving into Smith's early years on the vaudeville circuit.
Cultivated from the fierce ideas seeded in Blood Orchid, Blues for Cannibals is an elegiac reflection on death, pain, and a wavering confidence in humanity’s own abilities for self-preservation. After years of reporting on border violence, sex crimes, and the devastation of the land, Bowden struggles to make sense of the many ways in which we destroy ourselves and whether there is any way to survive. Here he confronts a murderer facing execution, sex offenders of the most heinous crimes, a suicidal artist, a prisoner obsessed with painting portraits of presidents, and other people and places that constitute our worst impulses and our worst truths. Painful, heartbreaking, and forewarning, Bowden at once tears us apart and yearns for us to find ourselves back together again.
"This was really the first time that blues music, especially Chicago/urban blues, was showcased in this way. Sadly, the festivals were not recorded professionally. So Mr. Livingston's photos are the best record of the festivals."
---Michael Jewett, longtime weekday afternoon host of 89.1 Jazz and host of "Blues & Some Uthuh Stuff"
"The photos are works of art. It is great to see photos of musicians such as Buddy Guy and James Cotton looking so young and vibrant. And it is great to see photos of blues legends such as John Lee Hooker, Roosevelt Sykes, Howlin' Wolf, and Son House, who have long since passed away."
---Peter Madcat Ruth, Grammy-winning blues harmonica player
"If Woodstock was one of the Fifty Moments That Changed Rock 'n' Roll History, as honored in Rolling Stone magazine, then the Ann Arbor Blues Festival was the coronation for the blues roots that sired rock to begin with. . . . finally we have this amazing book of Stanley Livingston's priceless images, along with Michael Erlewine's detailed chronology."
---From the foreword by Jim O'Neal, Cofounder, Living Blues Magazine
In 1969 and 1970, the first Ann Arbor Blues Festivals brought together the greatest-ever selection of blues performers---an enormous blues party that seemed to feature every big name in the world of blues.
The Ann Arbor Blues Festival was just that: a festival and celebration of city blues. It helped to mark the discovery of modern blues music (and the musicians who made that music) by a much larger audience. The festival, however, was something more than just a white audience discovering black music.
Never before had such a far-reaching list of performers been assembled, including the grandfathers of southern country blues and the hottest electric bands from Chicago. These groundbreaking festivals were the seed that grew into the Ann Arbor Blues and Jazz Festival, which was continued annually for many years. To name just a few of the dozens of artists who performed at the festival: Luther Allison, John Lee Hooker, Howlin' Wolf, B.B. King, Muddy Waters, Otis Rush, Hound Dog Taylor, Big Mama Thorton, T-Bone Walker, Sippie Wallace, Junior Wells, and Mighty Joe Young.
Stanley Livingston, a professional photographer from Ann Arbor, captured these legendary performances onstage---as well as the goings-on backstage. Livingston's thousands of photographs from these festivals, previously unpublished and known only to a few, are among the finest candid blues shots ever taken. Together with editor and archivist Michael Erlewine's text accompaniments, these photographs, reproduced here as high-quality duotones, comprise a visual history and important keepsake for blues aficionados everywhere.
Stanley Livingston was an award-winning photographer living and working in Ann Arbor until he passed away in 2010, after the book was released.
Michael Erlewine, also from Ann Arbor, is a renowned archivist of popular culture and founder of the All-Music Guide (allmusic.com) and editor of a number of books on blues and jazz.
Cover photo of B.B. King by Stanley Livingston
David Whiteis delves into how the current and upcoming Chicago blues generations carry on this legacy. Drawing on in-person interviews, Whiteis places the artists within the ongoing social and cultural reality their work reflects and helps create. Beginning with James Cotton, Eddie Shaw, and other bequeathers, he moves through an all-star council of elders like Otis Rush and Buddy Guy and on to inheritors and today's heirs apparent like Ronnie Baker Brooks, Shemekia Copeland, and Nellie "Tiger" Travis.
Insightful and wide-ranging, Blues Legacy reveals a constantly adapting art form that, whatever the challenges, maintains its links to a rich musical past.
This incomparable anthology collects articles, interviews, fiction, and poetry from the Original Chicago Blues Annual, one of music history's most significant periodical blues publications. Founded and operated from 1989 to 1995 by African American musician and entrepreneur Lincoln T. Beauchamp Jr., OCBA gave voice to the blues community and often frankly addressed contentious issues within the blues such as race, identity, prejudice, wealth, gender, and inequity.
OCBA often expressed an explicitly black perspective, but its contributors were a mix of black and white, American and international. Likewise, although OCBA's roots and main focus were in Chicago, Beauchamp's vision for the publication (and his own activities as a blues performer and promoter) embraced an international dimension, reflecting a broad diversity of blues audiences and activities in locations as farflung as Iceland, Poland, France, Italy, and South Africa.
This volume includes key selections from OCBA's seven issues and features candid interviews with blues luminaries such as Koko Taylor, Eddie Boyd, Famoudou Don Moye, Big Daddy Kinsey, Lester Bowie, Junior Wells, Billy Boy Arnold, Herb Kent, Barry Dolins, and many more. Also featured are heartfelt memorials to bygone blues artists, insightful observations on the state of the blues in Chicago and beyond, and dozens of photographs of performers, promoters, and other participants in the worldwide blues scene.
Larry Hogan is one of the most popular political figures in the United States today. The two-term Republican governor of Maryland first won his seat after upsetting a favorite of the Democratic political establishment, and then overcame the Trump-driven wave in the heartland of the #resistance to win a second term in 2018.
Blue-State Republican is the remarkable story of how his carefully messaged, pragmatic approach to governance helped build a coalition of moderate and conservative Democrats, independents, women, college-educated and Black voters and maintained his GOP base during a time of polarization and negative partisanship. Mileah Kromer takes readers inside Maryland politics to illustrate exactly how Hogan won where Republicans lose and consider whether the un-Trump Republican offers any lessons for how the GOP can win the center-right voters who continue to make up a majority of the country.
Kromer conducts interviews with key political leaders and insiders, including Hogan himself, to explain the mechanics of his political success. She also provides a cogent analysis of public opinion polls and focus groups, ultimately showing why the success of a blue-state Republican matters outside of his home state, especially as Hogan considers a 2024 Presidential run.
Richard Alba argues that the social cleavages that separate Americans into distinct, unequal ethno-racial groups could narrow dramatically in the coming decades. During the mid-twentieth century, the dominant position of the United States in the postwar world economy led to a rapid expansion of education and labor opportunities. As a result of their newfound access to training and jobs, many ethnic and religious outsiders, among them Jews and Italians, finally gained full acceptance as members of the mainstream. Alba proposes that this large-scale assimilation of white ethnics was a result of “non-zero-sum mobility,” which he defines as the social ascent of members of disadvantaged groups that can take place without affecting the life chances of those who are already members of the established majority.
Alba shows that non-zero-sum mobility could play out positively in the future as the baby-boom generation retires, opening up the higher rungs of the labor market. Because of the changing demography of the country, many fewer whites will be coming of age than will be retiring. Hence, the opportunity exists for members of other groups to move up. However, Alba cautions, this demographic shift will only benefit disadvantaged American minorities if they are provided with access to education and training. In Blurring the Color Line, Alba explores a future in which socially mobile minorities could blur stark boundaries and gain much more control over the social expression of racial differences.
The history of Philadelphia’s Boathouse Row is both wide and deep.Dotty Brown, an avid rower and former editor at the Philadelphia Inquirer, immersed herself in boathouse archives to provide a comprehensive history of rowing in Philadelphia. She takes readers behind the scenes to recount the era when rowing was the spectator sport of its time—and the subject of Thomas Eakins’ early artwork—through the heyday of the famed Kelly dynasty, and the fight for women to get the right to row. (Yes, it really was a fight, and it took generations to win.)
With more than 160 photographs, a third of them in full color, Boathouse Row chronicles the “waves of change” as various groups of different races, classes, and genders fought for access to water and the sport. Chapters also discuss the architectural one-upmanship that defined Boathouse Row after Frank Furness designed the stunning and eclectic Undine Barge Club, and the regattas that continue to take place today on the Schuylkill River, including the forgotten forces that propelled high school rowing.
Beautifully written and illustrated, Boathouse Row will be a keepsake for rowers and spectators alike.
As a backyard naturalist and river enthusiast, Henry David Thoreau was keenly aware of the many ways in which humans had altered the waterways and meadows of his beloved Concord River Valley. A land surveyor by trade, he recognized that he was as complicit in these transformations as the bankers, builders, and elected officials who were his clients. The Boatman reveals the depth of his knowledge about the river as it elegantly chronicles his move from anger to lament to acceptance of how humans had changed a place he cherished even more than Walden Pond.
“A scrupulous account of the environment Thoreau loved most… Thorson argues convincingly—sometimes beautifully—that Thoreau’s thinking and writing were integrally connected to paddling and sailing.”
—Wall Street Journal
“An in-depth account of Thoreau’s lifelong love of boats, his skill as a navigator, his intimate knowledge of the waterways around Concord, and his extensive survey of the Concord River.”
—Robert Pogue Harrison, New York Review of Books
“An impressive feat of empirical research…an important contribution to the scholarship on Thoreau as natural scientist.”
—Los Angeles Review of Books
“The Boatman presents a whole new Thoreau—the river rat. This is not just groundbreaking, but fun.”
—David Gessner, author of All the Wild That Remains
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.
Bob Dylan is an iconic American artist, whose music and performances have long reflected different musical genres and time periods. His songs tell tales of the Civil War, harken back to 1930s labor struggles, and address racial violence at the height of the civil rights movement, helping listeners to think about history, and history making, in new ways. While Dylan was warned by his early mentor, Dave Van Ronk, that, “You’re just going to be a history book writer if you do those things. An anachronism,” the musician has continued to traffic in history and engage with a range of source material—ancient and modern—over the course of his career.
In this beautifully crafted book, Freddy Cristóbal Domínguez makes a provocative case for Dylan as a historian, offering a deep consideration of the musician’s historical influences and practices. Utilizing interviews, speeches, and the close analysis of lyrics and live performances, Bob Dylan in the Attic is the first book to consider Dylan’s work from the point of view of historiography.
Ranching on the vast scale that Texas is famous for actually happened at King Ranch, a sea of grass that ultimately spread its pastures to countries around the globe under the fifty-year leadership of Bob Kleberg. This absorbing biography, written by Kleberg's top assistant of many years, captures both the life of the man and the spirit of the kingdom he ruled, offering a rare, insider's view of life on a fabled Texas ranch.
John Cypher spent forty years (1948-1988) on King Ranch. In these pages, he melds highlights of Kleberg's life with memories of his own experiences as the "right hand" who implemented many of Kleberg's grand designs. In a lively story laced with fascinating anecdotes he both recounts his worldwide travels with Kleberg as the ranch expanded its holdings to Latin America, Cuba, Australia, the Philippines, Europe, and Africa, and describes timeless, traditional tasks such as roundup at the home ranch in Kingsville.
Kleberg's accomplishments as the founder of the Santa Gertrudis cattle breed and a breeder of Thoroughbred racing horses receive full attention, as does his fabled lifestyle, which included friendships not merely with the rich and famous but also with Queen Elizabeth the Queen Mother, who shared his love of horse racing. For everyone interested in ranching and one of its most famous practitioners, this book will be essential reading.
This study develops a new interpretation of The Decameron, Giovanni Boccaccio’s masterpiece, which has found new popularity in the wake of COVID. Dino S. Cervigni offers an inclusive and novel reading of the collection, theorizing that the first ninety tales offer a parodic rewriting of the Christian Middle Age, while the last ten tales craft a reconstruction of society based on human and liberal principles such as generosity and sacrifice.
Still relevant to this day, The Decameron offers a notable description of the bubonic plague of 1348 which devastated Western Europe—drawing striking parallels with the current global pandemic. Furthermore, Boccaccio’s concluding message applies to all of us in the present moment, plunged as we are into a world of intellectual and ethical chaos, exhorting us to practice forgiveness, compassion, tolerance, mutual acceptance, and generous open-mindedness. No other book on The Decameron offers such a relevant, up-to-date reading of the classic work.
In the past fifty years, the bodhrán, or traditional Irish circular frame drum, has undergone a rapid evolution in development. Traditionally, it is a shallow drum ranging from ten to twenty-six inches in diameter, covered in goatskin on the top (or drum) side and open on the other. Unlike any other instrument associated with Irish traditional music, the bodhrán has been dramatically altered by its confrontation with modern instrument design, performance techniques, and musical practice. Colin Harte’s The Bodhrán: Experimentation, Innovation, and the Traditional Irish Frame Drum presents a definitive history of the bodhrán from its early origins to its present-day resurgence in Irish American folk music.
The bodhrán has global roots and bears many characteristics of older drums from northern Africa and the Middle East. Harte picks up on these basic similarities and embarks on an engaging tour of the instrument’s historical and organological development, gradual evolution in playing styles, and more recent history of performative practice. Drawing from a host of interviews over a multi-year period with participants primarily located in Europe and North America, this work provides a platform for multiple perspectives regarding the bodhrán. Participants include bodhrán makers, professional performers, educators, amateur musicians, historians, and enthusiasts. Growing out of rich ethnographic interviews, this book serves as the definitive reference for understanding and navigating the developments in the bodhrán’s history, organology, performance practices, and repertoire.
In the French Third Republic, nursing was an occupation caught in the crosscurrents of conflicting notions about the role of women. This deft political history shows how the turmoil and transformation of nursing during this period reflected the political and cultural tensions at work in the nation, including critical conflicts over the role of the Church in society, the professionalization of medicine, the organization and growing militancy of the working classes, and the emancipation of women.
Bodies and Souls describes a time when nursing evolved from a vocation dominated by Catholic orders to a feminine profession that included increasing numbers of lay women. As she pursues this story from the founding of the first full-time professional nursing school in Lyons through the changes wrought by World War I, Katrin Schultheiss reveals how the debates over what nurses were to be, know, and do were deeply enmeshed in issues of class, definitions of femininity, the nature of women's work, and the gendered character of social and national service. Her fine study maps the intersection of these debates with political forces, their impact on hospital nursing and nursing education, and on the shaping of a feminine version of citizenship in France.
The Bodie Mining District was established in 1860 after the discovery of gold deposits in the area. Bodie's largest boom ended just over twenty years later, but the town survived into the twentieth century supported by a few small but steady mines. Mining ended with World War II. What remained of the town became a state park in 1964.
In Bodie's Gold, author Marguerite Sprague uncovers the original sources of information whenever possible, from the first mining claims to interviews with former Bodieites. Enhanced with numerous historic photographs and extracts from newspapers of that period, as well as by the reminiscences of former residents, the book offers a fascinating account of life in a Gold Rush boomtown. The book is now available in a new, easier-to-handle paperback edition that will make it more convenient for readers who want to carry if with them in a car or backpack.
Bodies in Contact brings together important scholarship on colonial gender studies gathered from journals around the world. Breaking with approaches to world history as the history of “the West and the rest,” the contributors offer a panoramic perspective. They examine aspects of imperial regimes including the Ottoman, Mughal, Soviet, British, Han, and Spanish, over a span of six hundred years—from the fifteenth century through the mid-twentieth. Discussing subjects as diverse as slavery and travel, ecclesiastical colonialism and military occupation, marriage and property, nationalism and football, immigration and temperance, Bodies in Contact puts women, gender, and sexuality at the center of the “master narratives” of imperialism and world history.
Contributors. Joseph S. Alter, Tony Ballantyne, Antoinette Burton, Elisa Camiscioli, Mary Ann Fay, Carter Vaughn Findley, Heidi Gengenbach, Shoshana Keller, Hyun Sook Kim, Mire Koikari, Siobhan Lambert-Hurley, Melani McAlister, Patrick McDevitt, Jennifer L. Morgan, Lucy Eldersveld Murphy, Rosalind O’Hanlon, Rebecca Overmyer-Velázquez, Fiona Paisley, Adele Perry, Sean Quinlan, Mrinalini Sinha, Emma Jinhua Teng, Julia C. Wells
Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.
Bodies in Suspense presents a powerful new way to think through postdigital cinema and the affective turn in critical theory. According to Alanna Thain, suspense films allow us to experience the relation between two bodies: that of the film and that of the viewer. Through the “time machine” of suspense, film form, gender, genre, and spectatorship are revealed in innovative and different ways. These films not only engage us directly in ethical concerns, but also provide a key for understanding corporeal power in the digital era.
Offering a new framework for understanding cinematic suspense, Bodies in Suspense argues that the “body in time” enables us to experience the temporal dimension of the body directly. This is the first book to link two contemporary frames of analysis: questions of cinematic temporality and contemporary affect theory. Thain conducts close readings of influential suspense films by Alfred Hitchcock, David Lynch, Christian Marclay, Rian Johnson, and Lou Ye, and sets forth a compelling new theory of cinema, reading for the productivity of the “crime of time” that stages the duplicity of cinematic bodies. Through these films that foreground doubled characters and looping, Thain explores Gilles Deleuze’s claim that “the direct time-image is the phantom which has always haunted cinema.”
A vital new addition to film theory, corporeality and affect theory, feminist theory, and the philosophy of time—and one of the first books to explore David Lynch’s Hollywood trilogy—Bodies in Suspense asks us to pay attention, above all, to the ways in which the condition of spectatorship creates a doubling sensation with important philosophical repercussions.
A wide-ranging, interconnected anthology presents a diversity of feminist contributions to digital humanities
In recent years, the digital humanities has been shaken by important debates about inclusivity and scope—but what change will these conversations ultimately bring about? Can the digital humanities complicate the basic assumptions of tech culture, or will this body of scholarship and practices simply reinforce preexisting biases? Bodies of Information addresses this crucial question by assembling a varied group of leading voices, showcasing feminist contributions to a panoply of topics, including ubiquitous computing, game studies, new materialisms, and cultural phenomena like hashtag activism, hacktivism, and campaigns against online misogyny.
Taking intersectional feminism as the starting point for doing digital humanities, Bodies of Information is diverse in discipline, identity, location, and method. Helpfully organized around keywords of materiality, values, embodiment, affect, labor, and situatedness, this comprehensive volume is ideal for classrooms. And with its multiplicity of viewpoints and arguments, it’s also an important addition to the evolving conversations around one of the fastest growing fields in the academy.
Contributors: Babalola Titilola Aiyegbusi, U of Lethbridge; Moya Bailey, Northeastern U; Bridget Blodgett, U of Baltimore; Barbara Bordalejo, KU Leuven; Jason Boyd, Ryerson U; Christina Boyles, Trinity College; Susan Brown, U of Guelph; Lisa Brundage, CUNY; micha cárdenas, U of Washington Bothell; Marcia Chatelain, Georgetown U; Danielle Cole; Beth Coleman, U of Waterloo; T. L. Cowan, U of Toronto; Constance Crompton, U of Ottawa; Amy E. Earhart, Texas A&M; Nickoal Eichmann-Kalwara, U of Colorado Boulder; Julia Flanders, Northeastern U Library; Sandra Gabriele, Concordia U; Brian Getnick; Karen Gregory, U of Edinburgh; Alison Hedley, Ryerson U; Kathryn Holland, MacEwan U; James Howe, Rutgers U; Jeana Jorgensen, Indiana U; Alexandra Juhasz, Brooklyn College, CUNY; Dorothy Kim, Vassar College; Kimberly Knight, U of Texas, Dallas; Lorraine Janzen Kooistra, Ryerson U; Sharon M. Leon, Michigan State; Izetta Autumn Mobley, U of Maryland; Padmini Ray Murray, Srishti Institute of Art, Design, and Technology; Veronica Paredes, U of Illinois; Roopika Risam, Salem State; Bonnie Ruberg, U of California, Irvine; Laila Shereen Sakr (VJ Um Amel), U of California, Santa Barbara; Anastasia Salter, U of Central Florida; Michelle Schwartz, Ryerson U; Emily Sherwood, U of Rochester; Deb Verhoeven, U of Technology, Sydney; Scott B. Weingart, Carnegie Mellon U.
Throughout the 1970s and ’80s, women argued that unless they gained access to information about their own bodies, there would be no equality. In Bodies of Knowledge, Wendy Kline considers the ways in which ordinary women worked to position the female body at the center of women’s liberation.
As Kline shows, the struggle to attain this knowledge unified women but also divided them—according to race, class, sexuality, or level of professionalization. Each of the five chapters of Bodies of Knowledge examines a distinct moment or setting of the women’s movement in order to give life to the ideas, expectations, and pitfalls encountered by the advocates of women’s health: the making of Our Bodies, Ourselves (1973); the conflicts surrounding the training and practice of women’s pelvic exams; the emergence of abortion as a feminist issue; the battles over contraceptive regulation at the 1983 Depo-Provera FDA hearings; and the rise of the profession of midwifery. Including an epilogue that considers the experiences of the daughters of 1970s feminists, Bodies of Knowledge is an important contribution to the study of the bodies—that marked the lives—of feminism’s second wave.
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