The major goal of developmental neurobiology is to understand how the nervous system is put together. A central theme that has emerged from research in this field over the last several decades is the crucial role of trophic interactions in neural assembly, and indeed throughout an animal's life. Trophic—which means nutritive—refers to long-term interdependencies between nerve cells and the cells they innervate.
The theory of trophic effects presented in this book offers an explanation of how the vertebrate nervous system is related to—and regulated by—the body it serves. The theory rationalizes the nervous system's accommodation, throughout life, to the changing size and form of the body it tenants, indicating the way connections between nerve cells change in response to stimuli as diverse as growth, injury, experience, and natural selection.
Dale Purves, a leading neurobiologist best known for his work on the formation and maintenance of synaptic connections, presents this theory within the historical setting of earlier ideas about neural organization—from Weiss's theory of functional reorganization to the chemoaffinity theory championed by Sperry. In addition to illuminating eighty years of work on trophic interactions, this book asks its own compelling questions: Are trophic interactions characteristic of all animals or only of those with complex nervous systems? Are trophic interactions related to learning? What does the trophic theory of neural connections imply about the currently fashionable view that the nervous system operates according to Darwinian principles?
Purves lays the theoretical foundation for practical exploration of trophic interactions as they apply to neural connections, a pursuit that will help us understand how our own nervous systems generate change. The ideas in this book not only enrich neurobiology but also convey the profound relevance of neuroscience to other fields of life science.
Traditionally the "Chinese body" was approached as a totality and explained by sweeping comparisons of the differences that distinguished Chinese examples from their Western counterparts. Recently, scholars have argued that we must look at particular examples of Chinese images of the body and explore their intrinsic conceptual complexity and historical specificity.
The twelve contributors to this volume adopt a middle position. They agree that Chinese images are conditioned by indigenous traditions and dynamics of social interaction, but they seek to explain a general Chinese body and face by charting multiple, specific bodies and faces. All of the chapters are historical case studies and investigate particular images, such as Han dynasty tomb figurines; Buddhist texts and illustrations; pictures of deprivation, illness, deformity, and ghosts; clothing; formal portraiture; and modern photographs and films. From the diversity of art forms and historical periods studied, there emerges a more complex picture of ways that the visual culture of the body and face in China has served to depict the living, memorialize the dead, and present the unrepresentable in art.
In this original contribution to Elizabeth Bishop studies, Marilyn May Lombardi uses previously unpublished materials (letters, diaries, notebooks, and unfinished poems) to shed new light on the poet’s published work. She explores the ways Bishop’s lesbianism, alcoholism, allergic illnesses, and fear of mental instability affected her poetry—the ways she translated her bodily experiences into poetic form.
A cornerstone of The Body and the Song is the poet’s thirty-year correspondence with her physician, Dr. Anny Baumann, who was both friend and surrogate mother to Bishop. The letters reveal Bishop’s struggles to understand the relation between her physical and creative drives. "Dr. Anny" also helped Bishop unravel the connections in her life between psychosomatic illness and early maternal deprivation—her mother was declared incurably insane and institutionalized in 1916, when Bishop was five years old. Effectively an orphan, she spent the rest of her childhood with relatives.
In addition to these letters, Lombardi uses Bishop’s unpublished notebooks to demonstrate the poet’s resolve to "face the facts"—to confront her own emotional, intellectual, and physical frailties—and translate them into poetry that is clear-eyed and economical in its form.
Lombardi argues that in her subtle way, Bishop explores the same issues that preoccupy the current generation of women writers. A deeply private artist, Bishop never directly refers to her homosexuality in her published work, but the metaphors she draws from her carnal desires and aversions confront stifling cultural prescriptions for personal and erotic expression. In choosing restraint over confession, Bishop parted company with her friend Robert Lowell, but Lombardi shows that her reticence becomes a powerful artistic strategy resulting in poetry remarkable for its hermeneutic potential.
Informed by recent gender criticism, Lombardi’s lucid argument advances our understanding of the ways the material circumstances of life can be transformed into art.
Explore metaphors in the exquisite and enigmatic poetry of Song of Songs
One of the chief difficulties in interpreting the Song's lyrics is the unusual imagery used to depict the lovers' bodies. Why is the maiden's hair compared to a flock of goats (4:1), the man’s cheeks likened to garden beds of spice (5:13), and the eyes of both lovers described as doves (4:1; 5:12)? While scholars speculate on the significance of these images, a systematic inquiry into the Song's body metaphors is curiously absent. Based on insights from cognitive linguistics, this study incorporates biblical and comparative data to uncover the meaning of these metaphors surveying literature in the eastern Mediterranean (and beyond) that shares a similar form (poetry) and theme (love). Gault presents an interpretation of the Song's body imagery that sheds light on the perception of beauty in Israel and its relationship to surrounding cultures.
Features
Hailed for his humor and passion, the internationally acclaimed performance artist Tim Miller has delighted, shocked, and emboldened audiences all over the world. Body Blows gathers six of Miller’s best-known performances that chart the sexual, spiritual, and political topography of his identity as a gay man: Some Golden States, Stretch Marks, My Queer Body, Naked Breath, Fruit Cocktail, and Glory Box. In Body Blows, Tim Miller leaps from the stage to the page, as each performance script is illustrated with striking photographs and accompanied by Miller’s notes and comment.
This book explores the tangible body blows—taken and given—of Miller’s life and times as explored in his performances: the queer-basher’s blow, the sweet blowing breath of a lover, the below-the-belt blow of HIV/AIDS, the psychic blows from a society that disrespects the humanity of lesbian and gay relationships. Miller’s performances are full of the put-up-your-dukes and stand-your-ground of such day-to-day blows that make up being gay in America
Movement is our first language, our universal language. Expression of body movement is the very basis of life as the nineteen contributors to The Body Can Speak: Essays on Creative Movement Education with Emphasis on Dance and Drama attest. Students use their bodies as an instrument of expression, and movement as medium; this means investigating space, energy, time, and motion in order to gain insight into these basic principles. At the same time they gain essential awareness of the self. Such work stimulates the senses and intellect, and develops a tangible new vision to satisfy the human need for aesthetic and artistic expression.
As editor of this collection, accomplished dancer and artistic director Annelise Mertz provides both an aesthetic appreciation for creative movement education as well as practical pedagogy for incorporating dance and drama into contemporary curriculum. Mertz has assembled here a definitive body of work from fellow artists and former students that speaks to the need to actively promote art as part of education.
The book gives voice to accomplished teachers, actors, dancers, directors, authors, and choreographers who share their experiences while they address creative movement education from preschool through college. Forty-eight photographs add an illuminating visual dimension to this wealth of stimulating ideas. The Body Can Speak provides a balanced and varied mosaic, with each essay offering evidence that creative movement education is vital for human development.
Contributors include Becky Engler-Hicks, Ruth Grauert, Anna Halprin, Joanna G. Harris, Margaret N. H’Doubler, Michael Hoeye, Murray Louis, Annelise Mertz, Jaime Nisenbaum, Carol North, Jeff Rehg, Shirley Ririe, G. Hoffman Soto, Emma D. Sheehy, Harold Taylor, Branislav Tomich, Dorothy M. Vislocky, and Joan J. Woodbury.
Body Double explores the myriad ways that film artists have represented the creative process. In this highly innovative work, Lucy Fischer draws on a neglected element of auteur studies to show that filmmakers frequently raise questions about the paradoxes of authorship by portraying the onscreen writer. Dealing with such varied topics as the icon of the typewriter, the case of the writer/director, the authoress, and the omnipresent infirm author, she probes the ways in which films can tell a plausible story while contemplating the conditions and theories of their making.
By examining many forms of cinema, from Hollywood and the international art cinema to the avant-garde, Fischer considers the gender, age, and mental or physical health of fictionalized writers; the dramatized interaction between artists and their audiences and critics; and the formal play of written words and nonverbal images.
By analyzing such movies as Adaptation,Diary of a Country Priest, Naked Lunch, American Splendor, and Irezumi, Fischer tracks the parallels between film author and character, looking not for the creative figure who stands outside the text, but for the one who stands within it as corporeal presence and alter-ego.
As exemplary representatives of a form of critical feminism, the writings of Judith Butler, Katherine Hayles, and Donna Haraway offer entry into the great crises of contemporary society, politics, and culture. Butler leads readers to rethink the boundaries of the human in a time of perpetual war. Hayles turns herself into a “writing machine” in order to find a dwelling place for the digital humanities within the austere landscape of the culture of the code. Haraway is the one contemporary thinker to have begun the necessary ethical project of creating a new language of potential reconciliation among previously warring species.
According to Arthur Kroker, the postmodernism of Judith Butler, the posthumanism of Katherine Hayles, and the companionism of Donna Haraway are possible pathways to the posthuman future that is captured by the specter of body drift. Body drift refers to the fact that individuals no longer inhabit a body, in any meaningful sense of the term, but rather occupy a multiplicity of bodies: gendered, sexualized, laboring, disciplined, imagined, and technologically augmented.
Body drift is constituted by the blast of information culture envisioned by artists, communicated by social networking, and signified by its signs. It is lived daily by remixing, resplicing, and redesigning the codes: codes of gender, sexuality, class, ideology, and identity. The writings of Butler, Hayles, and Haraway, Kroker reveals, provide the critical vocabulary and political context for understanding the deep complexities of body drift and challenging the current emphasis on the material body.
This rich collection of essays and interviews explores modern-dance technique training from the last fifty years. Focusing on the culture of dance, editors Melanie Bales and Rebecca Nettl-Fiol examine choreographic process and style, dancer agency and participation in the creative process, and changes in the role and purpose of training. Bringing recent writings on dance into dialogue with dance practice, The Body Eclectic: Evolving Practices in Dance Training asks readers to consider the relationship between training practices and choreographic style and content. The contributors explore how technique training both guides and reflects the art of dance.
Contributors include Melanie Bales, Glenna Batson, Wendell Beavers, Veronica Dittman, Natalie Gilbert, Joshua Monten, Martha Myers, and Rebecca Nettl-Fiol.
Dance professionals interviewed include David Dorfman, Ralph Lemon, Bebe Miller, Tere O’Connor, and Shelley Washington.
Whether you're a polar bear giving birth to cubs in an Arctic winter, a camel going days without water in the desert heat, or merely a suburbanite without air conditioning in a heat wave, your comfort and even survival depend on how well you adapt to extreme temperatures.
In this entertaining and illuminating book, biopsychologist Mark Blumberg explores the many ways that temperature rules the lives of all animals (including us). He moves from the physical principles that govern the flow of heat in and out of our bodies to the many complex evolutionary devices animals use to exploit those principles for their own benefit.
In the process Blumberg tells wonderful stories of evolutionary and scientific ingenuity--how penguins withstand Antarctic winters by huddling together by the thousands, how vulnerable embryos of many species are to extremes of temperature during their development, why people survive hour-long drowning accidents in winter but not in summer, how certain plants generate heat (the skunk cabbage enough to melt snow around it). We also hear of systems gone awry--how desert species given too much water can drink themselves into bloated immobility, why anorexics often complain of feeling cold, and why you can't sleep if the room is too hot or too cold. After reading this book, you'll never look at a thermostat in quite the same way again.
In her evocative ethnographic study, Body Language, Kimberly Lau traces the multiple ways in which the success of an innovative fitness program illuminates what identity means to its Black female clientele and how their group interaction provides a new perspective on feminist theories of identity politics—especially regarding the significance of identity to political activism and social change.
Sisters in Shape, Inc., Fitness Consultants (SIS), a Philadelphia company, promotes balance in physical, mental, and spiritual health. Its program goes beyond workouts, as it educates and motivates women to make health and fitness a priority. Discussing the obstacles at home and the importance of the group's solidarity to their ability to stay focused on their goals, the women speak to the ways in which their commitment to reshaping their bodies is a commitment to an alternative future.
Body Language shows how the group's explorations of black women's identity open new possibilities for identity-based claims to recognition, justice, and social change.
Bernarr Macfadden (1868–1955) entertained and instructed Americans for decades. He championed physical exercise, fasting, and diet reform and was the relentless scourge of established doctors. He presented his views in Physical Culture, a popular magazine featuring photographs of strong men and healthy women and articles promoting the healthy life. While some critics derided him as a health nut, no one could dispute his genius as a magazine publisher. He established the world’s greatest magazine publishing empire through the innovation of such popular publications as True Story, the first confession magazine; True Detective; and many others.
Whether classified as regulators of inflammation, metabolism, or other physiological functions, a distinctive set of molecules enables the human body to convey information from one cell to another. An in-depth primer on the molecular mediators that coordinate complex bodily processes, Body Messages provides fresh insight into how biologists first identified this special class of molecules and the consequences of their discovery for modern medicine.
Focusing on proteins that regulate inflammation and metabolism—including the cytokines and adipokines at the core of her own research—Giamila Fantuzzi examines the role body messages play in the physiology of health as well as in the pathology of various illnesses. Readers are introduced to different ways of conceptualizing biomedical research and to the advantages and pitfalls associated with identifying molecules beginning with function or structure. By bringing together areas of research usually studied separately, Fantuzzi stresses the importance of investigating the body as a whole and affirms the futility of trying to separate basic from clinical research. Drawing on firsthand interviews with researchers who made major contributions to the field, Body Messages illustrates that the paths leading to scientific discovery are rarely direct, nor are they always the only routes available.
The Body Multiple juxtaposes two distinct texts. Alongside Mol’s analysis of her ethnographic material—interviews with doctors and patients and observations of medical examinations, consultations, and operations—runs a parallel text in which she reflects on the relevant literature. Mol draws on medical anthropology, sociology, feminist theory, philosophy, and science and technology studies to reframe such issues as the disease-illness distinction, subject-object relations, boundaries, difference, situatedness, and ontology. In dialogue with one another, Mol’s two texts meditate on the multiplicity of reality-in-practice.
Presenting philosophical reflections on the body and medical practice through vivid storytelling, The Body Multiple will be important to those in medical anthropology, philosophy, and the social study of science, technology, and medicine.
The first collection of critical essays on May Swenson and her literary universe, Body My House initiates an academic conversation about an unquestionably major poet of the middle and late twentienth century. Between the 1950s and the 1980s, May Swenson produced eleven volumes of poetry, received many major awards, was elected chancellor of the Academy of American Poets, and was acclaimed by writers in virtually every school of American poetry.
Essays here address the breadth of Swenson's literary corpus and offer varied scholarly approaches to it. They reference Swenson manuscripts---poems, letters, diaries, and other prose---some of which have not been widely available before. Chapters focus on Swenson's work as a nature writer; the literary and social contexts of her writing; her national and international acclaim; her work as a translator; associations with other poets and writers (Bishop, Moore, and others); her creative process; and her profound explorations of gender and sexuality. The first full volume of scholarship on May Swenson, Body My House suggest an ambitious agenda for further work.
Contributors include Mark Doty, Gudrun Grabher, Cynthia Hogue, Suzann Juhasz, R.R. Knudson, Alicia Ostriker, Martha Nell Smith, Michael Spooner, Paul Swenson, and Kirstin Hotelling Zona.
In April 1861, President Abraham Lincoln suspended the writ of habeas corpus along the military line between Washington, D.C., and Philadelphia. This allowed army officers to arrest and indefinitely detain persons who were interfering with military operations in the area. When John Merryman, a wealthy Marylander suspected of burning bridges to prevent the passage of U.S. troops to Washington, was detained in Fort McHenry, the chief justice of the Supreme Court, Roger Taney, declared the suspension of habeas corpus unconstitutional and demanded Merryman's immediate release. Lincoln defied Taney’s order, offering his own forceful counter-argument for the constitutionality of his actions. Thus the stage was set for one of the most dramatic personal and legal confrontations the country has ever witnessed.
The Body of John Merryman is the first book-length examination of this much-misunderstood chapter in American history. Brian McGinty captures the tension and uncertainty that surrounded the early months of the Civil War, explaining how Lincoln's suspension of habeas corpus was first and foremost a military action that only subsequently became a crucial constitutional battle. McGinty's narrative brings to life the personalities that drove this uneasy standoff and expands our understanding of the war as a legal—and not just a military, political, and social—conflict. The Body of John Merryman is an extraordinarily readable book that illuminates the contours of one of the most significant cases in American legal history—a case that continues to resonate in our own time.
A history of Argentina that examines how trans bodies were understood, policed, and shaped in a country that banned medically assisted gender affirmation practices and punished trans lives.
As a trans history of Argentina, a country that banned medically assisted gender affirmation practices and punished trans lives, A Body of One’s Own places the histories of trans bodies at the core of modern Argentinian history. Patricio Simonetto documents the lives of people who crossed the boundaries of gender from the early twentieth century to the present. Based on extensive archival research in public and community-based archives, this book explores the mainstream medical and media portrayals of trans or travesti people, the state policing of gender embodiment, the experiences of those transgressing the boundaries of gender, and the development of homemade technologies from prosthetics to the self-injection of silicone. A Body of One's Own explores how trans activists' challenges to the exclusionary effects of Argentina’s legal, cultural, social, and political cisgender order led to the passage of the Gender Identity Law in 2012. Analyzing the decisive yet overlooked impact of gender transformation in the formation of the nation-state, gender-belonging, and citizenship, this book ultimately shows that supposedly abstract struggles to define the shifting notions of "sex," citizenship, and nationhood are embodied material experiences.
Poet, translator, and critic Annie Finch is director of the Stonecoast low-residency MFA program at the University of Southern Maine. She is co-editor, with Kathrine Varnes, of An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, and author of The Ghost of Meter: Culture and Prosody in American Free Verse, Eve, and Calendars. She is the winner of the eleventh annual Robert Fitzgerald Prosody Award for scholars who have made a lasting contribution to the art and science of versification.
Tracing the links between the war and press representations of ethnicity, gender, and sexuality, Žarkov examines the media’s coverage of two major protests by women who explicitly identified themselves as mothers, of sexual violence against women and men during the war, and of women as militants. She draws on contemporary feminist analyses of violence to scrutinize international and local feminist writings on the war in former Yugoslavia. Demonstrating that some of the same essentialist ideas of gender and sexuality used to produce and reinforce the significance of ethnic differences during the war often have been invoked by feminists, she points out the political and theoretical drawbacks to grounding feminist strategies against violence in ideas of female victimhood.
Healthy, invalid, lustful, and confined bodies—as portrayed by Julio Cortázar, Guillermo Cabrera Infante, Gabriel García Márquez, Severo Sarduy, Rosario Castellanos, and Tununa Mercado—become evidence for Roland Barthes’s contention that works of fiction are “anagrams of the body.” Claiming that an author’s intentions can be uncovered by analyzing “the topography of a text,” Prieto pays particular attention not to the actions or plots of these writers’ fiction but rather to their settings and characterizations. In the belief that bodily traces left on the page reveal the motivating force behind a writer’s creative act, he explores such fictional themes as camouflage, deterioration, defilement, entrapment, and subordination. Along the way, Prieto reaches unexpected conclusions regarding topics that include the relationship of the female body to power, male and female transgressive impulses, and the connection between aggression, the idealization of women, and anal eroticism in men.
This study of how authors’ longings and fears become embodied in literature will interest students and scholars of literary and psychoanalytic criticism, gender studies, and twentieth-century and Latin American literature.
In Body Parts, E. Richard Gold examines whether the body and materials derived from it—such as human organs and DNA—should be thought of as market commodities and subject to property law. Analyzing a series of court decisions concerning property rights, Gold explores whether the language and assumptions of property law can help society determine who has rights to human biological materials.
Gold observes that the commercial opportunities unleashed by advances in biotechnology present a challenge to the ways that society has traditionally valued the human body and human health. In a balanced discussion of both commercial and individual perspectives, Gold asserts the need to understand human biological materials within the context of human values, rather than economic interests.
This perceptive book will be welcomed by scholars and other professionals engaged in questions regarding bioethics, applied ethics, the philosophy of value, and property and intellectual property rights. Given the international aspects of both intellectual property law and biotechnology, this book will be of interest throughout the world and especially valuable in common-law (most English-speaking) countries.
In this poetic, introspective memoir, Kenny Fries illustrates his intersecting identities as gay, Jewish, and disabled. While learning about the history of his body through medical records and his physical scars, Fries discovers just how deeply the memories and psychic scars run. As he reflects on his relationships with his family, his compassionate doctor, the brother who resented his disability, and the men who taught him to love, he confronts the challenges of his life. Body, Remember is a story about connection, a redemptive and passionate testimony to one man’s search for the sources of identity and difference.
Body, Society, and Nation tells the story of China’s unfolding modernity by exploring the changing ideas, practices, and systems related to health and body in late nineteenth- and twentieth-century Shanghai. The pursuit of good health loomed large in Chinese political, social, and economic life. Yet, “good health” had a range of associations beyond individual well-being. It was also an integral part of Chinese nation-building, a goal of charitable activities, a notable outcome of Western medical science, a marker of modern civilization, and a commercial catchphrase. With the advent of Western powers, Chinese notions about personal hygiene and the body gradually expanded. This transformation was complicated by indigenous medical ideas, preexisting institutions and social groups, and local cultures and customs.
This study explores the many ways that members of the various strata of Shanghai society experienced and understood multiple meanings of health and body within their everyday lives. Chieko Nakajima traces the institutions they established, the regulations they implemented, and the practices they brought to the city as part of efforts to promote health. In doing so, she explains how local practices and customs fashioned and constrained public health and, in turn, how hygienic modernity helped shape and develop local cultures and influenced people’s behavior.
The desire to know the body is a powerful dynamic of storytelling in all its forms. Peter Brooks argues that modern narrative is intent on uncovering the body in order to expose a truth that must be written in the flesh. In a book that ranges widely through literature and painting, Brooks shows how the imagination strives to bring the body into language and to write stories on the body.
From Rousseau, Balzac, Mary Shelley, and Flaubert, to George Eliot, Zola, Henry James, and Marguerite Duras, from Manet and Gauguin to Mapplethorpe, writers and artists have returned in fascination to the body, the inescapable other of the spirit. Brooks's deep understanding of psychoanalysis informs his demonstration of how the "epistemophilic urge"--the desire to know-guides fictional plots and our reading of them.
It is the sexual body that furnishes the building blocks of symbolization, eventually of language itself-which then takes us away from the body. Yet mind and language need to recover the body, as an other realm that is primary to their very definition. Brooks shows how and why the female body has become the field upon which the aspirations, anxieties, and contradictions of a whole society are played out. And he suggests how writers and artists have found in the woman's body the dynamic principle of their storytelling, its motor force.
This major book entertains and teaches: Brooks presumes no special knowledge on the part of his readers. His account proceeds chronologically from Rousseau in the eighteenth century forward to contemporary artists and writers. Body Work gives us a set of analytical tools and ideas-primarily from psychoanalysis, narrative and film studies, and feminist theory-that enable us to read modern narrative afresh.
Inspired by Michel Foucault’s writings about biopolitics and biopower, Cohen traces the migration of immunity from politics and law into the domains of medicine and science. Offering a genealogy of the concept, he illuminates a complex of thinking about modern bodies that percolates through European political, legal, philosophical, economic, governmental, scientific, and medical discourses from the mid-seventeenth century through the twentieth. He shows that by the late nineteenth century, “the body” literally incarnates modern notions of personhood. In this lively cultural rumination, Cohen argues that by embracing the idea of immunity-as-defense so exclusively, biomedicine naturalizes the individual as the privileged focus for identifying and treating illness, thereby devaluing or obscuring approaches to healing situated within communities or collectives.
In Bogotá, a taut, moving novel set in present-day Colombia, Wilfredo decides to uproot his family from their small town, where his ferry service on the river subjects him to the gruesome errands demanded by the local paramilitary. Moving in with relatives in a slum in Bogotá, the family tries desperately to achieve the smallest measure of comfort and hope in a world of almost total ruin, wracked by deprivation, fear, and ceaseless violence.
Alan Grostephan depicts with startling immediacy an urban landscape of extreme harshness and oppressive instability. The tension between the desperate conditions surrounding his characters and their efforts to hold on to their humanity gives Bogotá a ferocious energy. As Wilfredo and his family fight to stay alive and stay together, their plight emerges as equally enraging and uplifting, constituting a portrait of a society always on the verge of disintegration.
Since the early nineteenth century, the bohemian has been the protagonist of the story the West has wanted to hear about its artists-a story of genius, glamour, and doom. The bohemian takes on many guises: the artist dying in poverty like Modigliani or an outrageous entertainer like Josephine Baker. Elizabeth Wilson's enjoyable book is a quest for the many shifting meanings that constitute the bohemian and bohemia.
She tells unforgettable stories of the artists, intellectuals, radicals, and hangers-on who populated the salons, bars, and cafs of Paris, London, New York, Los Angeles, and San Francisco, including Djuna Barnes, Juliette Greco, Allen Ginsberg, William Burroughs, Jack Kerouac, Amiri Baraka, Andy Warhol, and Jackson Pollock. Bohemians also follows the women who contributed to the myth, including the wives and mistresses, the muses, lesbians, and independent artists. Wilson explores the bohemians' eccentric use of dress, the role of sex and erotic love, the bohemian search for excess, and the intransigent politics of many.
As a new millennium begins, Wilson shows how notions of bohemianism remain at the core of heated cultural debates about the role of art and artists in an increasingly commodified and technological world.
From its small-time origins in the early 2000s to its transformation into one of the world’s most-recognized terrorist groups, this remarkable short book tells the story of Boko Haram’s bloody, decade-long war in northeastern Nigeria. Going beyond the headlines, including the group’s 2014 abduction of 276 girls in Chibok and the international outrage it inspired, Boko Haram provides readers new to the conflict with a clearly written and comprehensive history of how the group came to be, the Nigerian government’s failed efforts to end it, and its enormous impact on ordinary citizens.
Drawing on years of research, Boko Haram is a timely addition to the acclaimed Ohio Short Histories of Africa. Brandon Kendhammer and Carmen McCain—two leading specialists on northern Nigeria—separate fact from fiction within one of the world’s least-understood conflicts. Most distinctively, it is a social history, one that tells the story of Boko Haram’s violence through the journalism, literature, film, and music made by people close to it.
The election of the Movimiento al Socialismo (MAS, movement towards socialism) to power in Bolivia in 2006 marked a historic break from centuries of foreign domination and indigenous marginalisation. Evo Morales, leader of the MAS, became the first indigenous president of Bolivia.
Kepa Artaraz looks at the attempt to 'refound the nation' which the new government has made as its goal. He shows how the mix of Marxism, indigenous liberation politics, anti-imperialism and environmentalism has made Bolivia one of the most interesting and unique political experiments of Latin America's 'red decade'.
As the historic left-turn in Latin America reaches a crossroads, Bolivia: Refounding the Nation guides us through the politics and ideas which have animated this popular movement, drawing out important lessons for progressive politics everywhere.
Between the 1890s and the early 1920s, the boll weevil slowly ate its way across the Cotton South from Texas to the Atlantic Ocean. At the turn of the century, some Texas counties were reporting crop losses of over 70 percent, as were areas of Louisiana, Arkansas, and Mississippi. By the time the boll weevil reached the limits of the cotton belt, it had destroyed much of the region’s chief cash crop—tens of billions of pounds of cotton, worth nearly a trillion dollars.
As staggering as these numbers may seem, James C. Giesen demonstrates that it was the very idea of the boll weevil and the struggle over its meanings that most profoundly changed the South—as different groups, from policymakers to blues singers, projected onto this natural disaster the consequences they feared and the outcomes they sought. Giesen asks how the myth of the boll weevil’s lasting impact helped obscure the real problems of the region—those caused not by insects, but by landowning patterns, antiquated credit systems, white supremacist ideology, and declining soil fertility. Boll Weevil Blues brings together these cultural, environmental, and agricultural narratives in a novel and important way that allows us to reconsider the making of the modern American South.
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