A SCHOLARLY BOOK REPOSITORY
This distinctive collection ranges from the frighteningly whimsical image of Cortés dancing gleefully around a cannon to the haunting and poignant discovery of a dead refugee boy seemingly buried within the poet herself. The blending of styles works to blur the lines between subjects, creating a textured narrative full of both imagination and nuance.
Ultimately, Empire situates individual experience in the wider social context, highlighting the power of poetry as song, performance, testimony, and witness. Addressing themes such as war, family, poverty, gender, race, and migration, Candelaria gives us a dialogue between historical and personal narratives, as well as discreet “conversations” between content and form.
Candelario draws on her participant observation in a Dominican beauty shop in Washington Heights, a New York City neighborhood with the oldest and largest Dominican community outside the Republic, and on interviews with Dominicans in New York City, Washington, D.C., and Santo Domingo. She also analyzes museum archives and displays in the Museo del Hombre Dominicano and the Smithsonian Institution as well as nineteenth- and early-twentieth-century European and American travel narratives.
Through their various (and sometimes contrasting) critical points of view, these essays call attention to ideas or connections that demand a reappraisal of conventional attitudes or ingrained responses. Ranging in focus from the period of the mid-nineteenth century to the present day, they treat indisputably canonical figures such as Hawthorne, Faulkner, James, Hemingway, Cather, Bellow, Porter, Welty, and Warren in the same breath and often refreshingly on the same terms with Wallace Stegner, Cormac McCarthy, Dunstan Thompson, neglected Civil War poets, and the New Formalist critics of the last ten years.
In celebration and in reflection of the important critical contribution Ray Lewis White has made to the study of American literature, these writers, each a noted scholar in the field of literary studies, present a picture of American literature that manages to value the past at the same time that it asks us to envision that past anew.
Although it ends with a marriage, Kara Candito’s second poetry collection is anything but a comedy. At the book’s center is the struggle of a U.S. citizen and a Mexican citizen to find a common space and language in their relationship while navigating the U.S. immigration system, a process that sometimes requires magical thinking just to endure. By employing a kind of documentary poetics that views the application process through different angles and perspectives, Candito crafts discourses around xenophobia, otherness, and national and ethnic identity.
“In the waiting room of the third government office, / you will invent your own religion,” writes Candito in “Ars Amatoria: So You Want to Marry a Foreign National,” a tragicomic sequence written in Roman-numeric fragments reminiscent of an official document’s formatting. Interspersed with moments of lyric urgency (“I am here to suffer more beautifully”) and disconcerting cinematic observation (“One wore an assault rifle across his back, // another pointed a video camera at our faces.”), Spectator charts the plural self’s course through a world of airplane travel, drug wars, and customs forms.
From Italy to Boston, Lorca’s Granada to New York, and the dusty streets of Mexico City to the snowy parking lots of the Midwest, the speakers of Spectator probe the jagged boundaries between past and present, observer and observed, and political and personal. As such, the book is an homage to anyone who’s been displaced or redefined by bureaucratic systems of power.
The poem "Monologue during a Blackout" (which appears in Spectator) was the winner of a Pushcart Award in 2014.
The Lapidary’s Nosegay, Lara Candland’s primer of poems, presents to readers a bouquet of resplendent poems that Candland has created, collaged, curated, and reimagined by using the rich floral and gem imagery in the poetry of Emily Dickinson as her primary source material. Dickinson and Candland share linguistic and theological roots in the Bible, nineteenth-century American Protestantism, and a lexicon distinctive to their specific individuarian communities, and this collection of poems draws a serpentine kind of map across nearly two centuries, journeying from Amherst, Massachusetts, to Provo, Utah, from Dickinson’s severe and lush New England to Candland’s own jagged, harsh, and stunning high desert Utah. The Lapidary’s Nosegay explores the ways that both poets have simultaneously challenged and embraced the axiomatic constraints of religion, landscape, and cultural conventions and expectations of each poet’s time and place.
Aesthetically, Candland attempts to challenge the hierarchies of the page through linguistic, typographic, and sonic experimentation. The Lapidary’s Nosegay carries Dickinsonian echoes to alliterative and parenthetic excessivities that indicate sound stresses or that pictographically invoke sun, god, ghosts, ecstasy, and the jewels and flowers tumbling throughout Dickinson’s own poems. This collection works at toppling textual hierarchies, systematically jumbling sound, text, meaning, symbol, and context and entering the vein of radical American aesthetics, politics, and culture that have shaped Candland’s life and poetics.
Many farsighted women writers in nineteenth-century America made thoughtful and sustained use of newspapers and magazines to effect social and political change. “The Only Efficient Instrument”: American Women Writers and the Periodical, 1837-1916 examines these pioneering efforts and demonstrates that American women had a vital presence in the political and intellectual communities of their day.
Women writers and editors of diverse social backgrounds and ethnicities realized very early that the periodical was a powerful tool for education and social reform—it was the only efficient instrument to make themselves and their ideas better known. This collection of critical essays explores American women's engagement with the periodical press and shows their threefold use of the periodical: for social and political advocacy; for the critique of gender roles and social expectations; and for refashioning the periodical as a more inclusive genre that both articulated and obscured such distinctions as class, race, and gender.
Including essays on familiar figures such as Margaret Fuller, Harriet Beecher Stowe, Kate Chopin, and Charlotte Perkins Gilman, “The Only Efficient Instrument” also focuses on writings from lesser-known authors, including Native American Zitkala-Sä, Mexican American María Cristina Mena, African American Frances Ellen Watkins Harper, and the Lowell factory workers. Covering nearly eighty years of publishing history, from the press censure of the outspoken Angelina Grimké in 1837 to the last issue of Gilman's Forerunner in 1916, this fascinating collection breaks new ground in the study of the women's rights movement in America.
Drawing from his experiences as a documentary filmmaker with Black Lives Matter 5280 and Service Employees International Union (SEIU) Local 105 in Denver, Colorado, Gino Canella argues that activist media create opportunities for activists to navigate conflict and embrace their political and ideological differences. Canella details how activist media practices—interviewing organizers, script writing, video editing, posting on social media, and hosting community screenings—foster solidarity among grassroots organizers.
Informed by media theory, this book explores how activists are using media to mobilize supporters, communicate their values, and reject anti-union rhetoric. Furthermore, it demonstrates how collaborative media projects can help activists build broad-based coalitions and amplify their vision for a more equitable and just society.
Italian arts and culture have been a significant influence on Philadelphia dating back to Thomas Jefferson and colonial times. Throughout the ensuing decades, Italian art and architecture styles flourished, and wealthy Philadelphians traveled to Italy and brought back objects to display in emerging institutions of art and culture. New immigration formed neighborhoods—such as South Philly, home to the Italian Market—and Italian business leaders, politicians, artists, musicians and sports figures came to prominence and became part of the social fabric of the city.
This glorious volume, The Italian Legacy in Philadelphia, celebrates the history, impact, and legacy of this vibrant community, tracing four periods of key transformation in the city’s political, economic, and social structures. The editors and contributors chronicle the changing dynamics of the city as Italian immigrants established themselves and as they continue to have lively interactions with people and institutions in Italy.
Interdisciplinary essays, along with nearly 250 gorgeous images, explore the changing perspectives and styles of those who contributed Italian influences. As settlers and their descendants brought everyday cultural practices, memories, and traditions, they created different Italian-American experiences that became important parts of American culture, a legacy that is thriving in contemporary, globalized Philadelphia.
Analyzing the actions of modern presidents ranging from Eisenhower to Clinton, Brandice Canes-Wrone demonstrates that presidents' involvement of the mass public, by putting pressure on Congress, shifts policy in the direction of majority opinion. More important, she also shows that presidents rarely cater to the mass citizenry unless they already agree with the public's preferred course of action. With contemporary politics so connected to the pulse of the American people, Who Leads Whom? offers much-needed insight into how public opinion actually works in our democratic process. Integrating perspectives from presidential studies, legislative politics, public opinion, and rational choice theory, this theoretical and empirical inquiry will appeal to a wide range of scholars of American political processes.
This volume looks at how metropolitan ideas of nation employed by politicians, the media and education are produced, reproduced, and contested by people of the rural Andes—people who have long been regarded as ethnically and racially distinct from more culturally European urban citizens. Yet these peripheral “natives” are shown to be actively engaged with the idea of the nation in their own communities, forcing us to re-think the ways in which indigeneity is defined by its marginality.
The contributors examine the ways in which numerous identities—racial, generational, ethnic, regional, national, gender, and sexual—are both mutually informing and contradictory among subaltern Andean people who are more likely now to claim an allegiance to a nation than ever before. Although indians are less often confronted with crude assimilationist policies, they continue to face racism and discrimination as they struggle to assert an identity that is more than a mere refraction of the dominant culture. Yet despite the language of multiculturalism employed even in constitutional reform, any assertion of indian identity is likely to be resisted. By exploring topics as varied as nation-building in the 1930s or the chuqila dance, these authors expose a paradox in the relation between indians and the nation: that the nation can be claimed as a source of power and distinct identity while simultaneously making some types of national imaginings unattainable.
Whether dancing together or simply talking to one another, the people described in these essays are shown creating identity through processes that are inherently social and interactive. To sing, to eat, to weave . . . In the performance of these simple acts, bodies move in particular spaces and contexts and do so within certain understandings of gender, race and nation. Through its presentation of this rich variety of ethnographic and historical contexts, Natives Making Nation provides a finely nuanced view of contemporary Andean life.
Delving into European political philosophy, comparative politics, and contemporary international law, the book shows how the concept of indigeneity has shaped the development of the modern state. The exclusion of Indigenous people was not a collateral byproduct; it was a political project in its own right. The book argues that indigeneity is a political identity relational to modern nation-states and that Indigenous politics, although marking the boundary of the state, are co-constitutive of colonial processes of state-making. In showing how indigeneity is central to how the international system of states operates, the book forefronts Indigenous peoples as political actors to reject essentializing views that reduce them to cultural “survivors” rooted in the past.
With insights drawn from diverse global contexts and empirical research from Bolivia and Ecuador, this work advocates for the relevance of Indigenous studies within political science and argues for an ethnography of sovereignty in anthropology. Savages and Citizens makes a compelling case for the centrality of Indigenous perspectives to understand the modern state from political theory to international studies.
Drawing extensively on Roosevelt’s field notebooks, diaries, and letters, Canfield takes readers into the field on adventures alongside him. From Roosevelt’s early childhood observations of ants to his notes on ornithology as a teenager, Canfield shows how Roosevelt’s quest for knowledge coincided with his interest in the outdoors. We later travel to the Badlands, after the deaths of Roosevelt’s wife and mother, to understand his embrace of the rugged freedom of the ranch lifestyle and the Western wilderness. Finally, Canfield takes us to Africa and South America as we consider Roosevelt’s travels and writings after his presidency. Throughout, we see how the seemingly contradictory aspects of Roosevelt’s biography as a hunter and a naturalist are actually complementary traits of a man eager to directly understand and experience the environment around him.
As our connection to the natural world seems to be more tenuous, Theodore Roosevelt in the Field offers the chance to reinvigorate our enjoyment of nature alongside one of history’s most bold and restlessly curious figures.
Once in a great while, as the New York Times noted recently, a naturalist writes a book that changes the way people look at the living world. John James Audubon’s Birds of America, published in 1838, was one. Roger Tory Peterson’s 1934 Field Guide to the Birds was another. How does such insight into nature develop?
Pioneering a new niche in the study of plants and animals in their native habitat, Field Notes on Science and Nature allows readers to peer over the shoulders and into the notebooks of a dozen eminent field workers, to study firsthand their observational methods, materials, and fleeting impressions.
What did George Schaller note when studying the lions of the Serengeti? What lists did Kenn Kaufman keep during his 1973 “big year”? How does Piotr Naskrecki use relational databases and electronic field notes? In what way is Bernd Heinrich’s approach “truly Thoreauvian,” in E. O. Wilson’s view? Recording observations in the field is an indispensable scientific skill, but researchers are not generally willing to share their personal records with others. Here, for the first time, are reproductions of actual pages from notebooks. And in essays abounding with fascinating anecdotes, the authors reflect on the contexts in which the notes were taken.
Covering disciplines as diverse as ornithology, entomology, ecology, paleontology, anthropology, botany, and animal behavior, Field Notes offers specific examples that professional naturalists can emulate to fine-tune their own field methods, along with practical advice that amateur naturalists and students can use to document their adventures.
In Frontier Seaport, Catherine Cangany details this seldom-discussed chapter of Detroit’s history. She argues that by the time of the American Revolution, Detroit functioned much like a coastal town as a result of the prosperous fur trade, serving as a critical link in a commercial chain that stretched all the way to Russia and China—thus opening Detroit’s shores for eastern merchants and other transplants. This influx of newcomers brought its own transatlantic networks and fed residents’ desires for popular culture and manufactured merchandise. Detroit began to be both a frontier town and seaport city—a mixed identity, Cangany argues, that hindered it from becoming a thoroughly “American” metropolis.
Blessed Are the Activists examines US Catholic activists’ influence on US-Guatemalan relations during the Guatemalan civil war’s most violent years in the 1970s and 1980s. Cangemi argues that Catholic activists’ definition of human rights, advocacy methods, and structure caused them to act as a transnational human rights NGO that engaged Guatemalan and US government officials on human rights issues, reported on Guatemala’s human rights violations, and criticized US foreign policy decisions as a contributing factor in Guatemala’s inequality, poverty, and violence. His work foregrounds how Catholic activists emphasized dignity for Guatemala’s poorest citizens and the connections they made between justice, solidarity, and peace and brought Guatemala’s violence, poverty, and inequality to greater global attention, often at great personal risk.
Cangemi pays considerable attention to multiple facets of the strained US-Guatemala diplomatic relationship, including how and why Guatemala’s military dictatorship exposed the internal flaws within the Carter administration’s decision to link military aid to human rights and how internal foreign policy debates in the Carter and Reagan administrations helped to intensify Guatemala’s bloody civil war. He also includes interviews conducted with Guatemalan genocide survivors and refugees to provide firsthand accounts of the consequences of those policymaking decisions. Finally, he offers readers an in-depth examination of the US Catholic press’s sharp rebukes of US policies on Guatemala and all of Central America when the broader Roman Catholic Church began to move farther toward the ideological right under John Paul II.
Blessed Are the Activists offers rich, original research and a gripping narrative. With Guatemala and other countries in Latin America still experiencing human rights abuses, this book will continue to provide context. It will appeal to a broad swath of readers, from scholars to the general public and students.
Duke University Press Scholars of Color First Book Award Recipient
"This intriguing tale weaves together the creativity and ingenuity of an inventor and the hurdles he and his partner face in selling and producing what appears to be an amazingly efficient Bi-Rotor combine."—Science News
"Canine writes with style and flourish. . . Dream Reaper is a riveting journey into America's heartland, where necessity is the mother of invention—and hard work, conviction, and sacrifice are its lifeblood."—People Magazine
"Canine deftly interweaves the story of the two men's struggles with a history of the mechanization of agriculture. This lively account of men working under pressure, improvising repairs and demonstrating the new machine, is also a story of courage that illustrates the barriers facing an independent inventor."—Publishers Weekly
"Craig Canine's Dream Reaper is a delight. It's an important book, rich with history and stories. It brings our most essential industry—farming—into new perspective. Reading it made me want to get out a crop."—Bobbie Ann Mason
A volume in the Sloan Technology Series. The series presents to a general audience highly readable accounts of the development of 20th century technologies and the ways these have shaped and are shaped by society.
Yet this same serene shoreline has been ravaged by seven major hurricanes during this century. Several years more than one fearful storm has come hurtling in during a single "season." Loss of life an property damage have been devastating. And newcomers seem almost unaware of the potential dangers.
The authors of this book offer a vivid, historical overview for understanding the environment of the Alabama-Mississippi shore. They describe the risks faced by new residents, and they point the way toward safe and sane coastal development.
Michele Campo is living the bourgeois Italian dream. Now a speech pathologist in his forties, he resides in an expensive Naples home with his partner, Costanza, daughter of an upper-class family. Michele’s own family origins, however, are murkier. When he is assigned to work with five-year-old foster child Martina, he grows increasingly engrossed by her case, as his own buried family history slowly claws its way back to the surface. The first novel by acclaimed Italian writer Angelo Cannavacciuolo to be translated into English, When Things Happen tells a powerful and intriguing story of what we lose when we leave our origins behind. It presents a panoramic view of Neapolitan society unlike any in literature, revealing a city of extreme contrasts, with a glamorous center ringed by suburban squalor. Above all, it is a psychologically nuanced portrait of a man struggling to locate what he values in life and the poor vulnerable child who helps him find it.
The contributors examine the contours of Christianity among diverse groups: Catholics in India, the Philippines, and Bolivia, and Seventh-Day Adventists in Madagascar; the Swedish branch of Word of Life, a charismatic church based in the United States; and Protestants in Amazonia, Melanesia, and Indonesia. Highlighting the wide variation in what it means to be Christian, the contributors reveal vastly different understandings and valuations of conversion, orthodoxy, Scripture, the inspired word, ritual, gifts, and the concept of heaven. In the process they bring to light how local Christian practices and beliefs are affected by encounters with colonialism and modernity, by the opposition between Catholicism and Protestantism, and by the proximity of other religions and belief systems. Together the contributors show that it not sufficient for anthropologists to assume that they know in advance what the Christian experience is; each local variation must be encountered on its own terms.
Contributors. Cecilia Busby, Fenella Cannell, Simon Coleman, Peter Gow, Olivia Harris, Webb Keane, Eva Keller, David Mosse, Danilyn Rutherford, Christina Toren, Harvey Whitehouse
Between 1904 and the Great Depression, Circuit Chautauquas toured the rural United States, reflecting and reinforcing its citizens’ ideas, attitudes, and politics every summer through music (the Jubilee Singers, an African American group, were not always welcome in a time when millions of Americans belonged to the KKK), lectures (“Civic Revivalist” Charles Zueblin speaking on “Militancy and Morals”), elocutionary readers (Lucille Adams reading from Little Lord Fauntleroy), dramas (the Ben Greet Players’ cleaned-up version of She Stoops to Conquer), orations (William Jennings Bryan speaking about the dangers of greed), and special programs for children (parades and mock weddings).
Theatre historians have largely ignored Circuit Chautauquas since they did not meet the conventional conditions of theatrical performance: they were not urban; they produced no innovative performance techniques, stage material, design effects, or dramatic literature. In this beautifully written and illustrated book, Charlotte Canning establishes an analytical framework to reveal the Circuit Chautauquas as unique performances that both created and unified small-town America.
One of the last strongholds of the American traditions of rhetoric and oratory, the Circuits created complex intersections of community, American democracy, and performance. Canning does not celebrate the Circuit Chautauquas wholeheartedly, nor does she describe them with the same cynicism offered by Sinclair Lewis. She acknowledges their goals of community support, informed public thinking, and popular education but also focuses on the reactionary and regressive ideals they sometimes embraced. In the true interdisciplinary spirit of Circuit Chautauquas, she reveals the Circuit platforms as places where Americans performed what it meant to be American.
How do historians represent the past? How do theatre historians represent performance events? The fifteen challenging essays in Representing the Past: Essays in Performance Historiography focus on the fundamental epistemological conditions and procedures that serve as the foundational ideas that guide all historians in their endeavors. Unified by their investigations into how best to understand and then represent the past, this diverse group of scholars in the field of theatre history and performance studies offers insights into the abiding issues that all historians face in the task of representing human events and actions.
Five primary ideas provide the topics as well as the intellectual parameters for this book: archive, time, space, identity, and narrative. Taking these as the conceptual framework for historical research and analysis, the essayists cover an expansive range of case studies and problems in the historical study of performance from the Americas to Africa and from Europe to India and China. Considering not only how historians think about these concepts in their research and writing but more pointedly—and historiographically—how they think with them, the essayists demonstrate the power and centrality of each of these five ideas in historical scholarship from initial research to the writing of essays and books.
Performance history has a diversity of identities, locations, sources, and narratives. This compelling engagement with the concepts essential to historical understanding is a valuable contribution to the historiography of performance—for students, teachers, and the future of the discipline itself. Expanding upon its classic predecessor, Interpreting the Theatrical Past: Essays in the Historiography of Performance, this exciting new collection illustrates the contemporary richness of historical thinking and writing in the field of performance history.
Charlotte’s Rose—justifiably back in print—tells the story of a young Welsh girl, Charlotte Edwards, who, soon after her mother dies, sails with her father from England to the United States to become part of a company of Mormon handcart pioneers—emigrants with no horses or oxen who themselves pulled the heavy carts filled with their belongings. These were arduous journeys. While on the Mormon Trail, Charlotte befriends a young mother who later dies in childbirth. Though only 12 years old, Charlotte assumes responsibility for the infant and carries her to Utah. Over the course of their journey together, Charlotte becomes deeply attached to the baby she calls Rose, which makes Charlotte’s choice at the novel’s end particularly poignant.
The author, A. E. Cannon, is adept at creating vivid, multifaceted, believable characters and has crafted a story of pioneers that will seem relevant to today’s young people. The reader will quickly be drawn into the story as Charlotte struggles to navigate the trials of an adolescent moving into adulthood. Although this is a book about Mormon pioneers, it is in fact about the larger American experience of immigration—a drama still unfolding today—and Charlotte’s coming-of-age journey will resonate with readers young and old.
The twentieth could easily be Utah’s most interesting, complex century, yet popular ideas of what is history seem mired in the nineteenth. One reason may be the lack of readily available writing on more recent Utah history. This collection of essays shifts historical focus forward to the twentieth, which began and ended with questions of Utah’s fit with the rest of the nation. In between was an extended period of getting acquainted in an uneasy but necessary marriage, which was complicated by the push of economic development and pull of traditional culture, demand for natural resources from a fragile and scenic environment, and questions of who governs and how, who gets a vote, and who controls what is done on and to the contested public lands. Outside trade and a tourist economy increasingly challenged and fed an insular society. Activists left and right declaimed constitutional liberties while Utah’s Native Americans become the last enfranchised in the nation. Proud contributions to national wars contrasted with denial of deep dependence on federal money; the skepticism of provocative writers, with boosters eager for growth; and reflexive patriotism somehow bonded to ingrained distrust of federal government.
Art is politics and politics is art in this study of post–World War I caricature art in Egypt and Egyptian politics. This book explores the complex meaning and significance of caricature art drawn to support the ascendant Egyptian Wafdpolitical party and its push for independence from British colonial control. The works of previously neglected Egyptian lithographers are also explored, especially those who adopted sophisticated European techniques while experimenting with a variety of new styles during a remarkable period in Egyptian history.
Caricature art by Wafd party artists was almostsui generis. It is distinguished especially by its sincere use of iconic, folkloric imagery, intended to rally nationalistic sentiments among an emerging Egyptian electorate that included many nonliterate citizens. Cannon’s research breathes new life into an influential yet largely forgotten artistic movement in Egypt, one that deserves recognition for its contribution to Egypt’s share of modern Middle East cultural history. Includes full color reproductions.
In this book Eoin Cannon illuminates the role that sobriety movements have played in placing notions of personal and societal redemption at the heart of modern American culture. He argues against the dominant scholarly perception that recovery narratives are private and apolitical, showing that in fact the genre's conventions turn private experience to public political purpose. His analysis ranges from neglected social reformer Helen Stuart Campbell's embrace of the "gospel rescue missions" of postbellum New York City to William James's use of recovery stories to consider the regenerative capabilities of the mind, to writers such as Upton Sinclair and Djuna Barnes, who used this narrative form in much different ways.
Cannon argues that rather than isolating recovery from these realms of wider application, the New Deal–era Alcoholics Anonymous refitted the "drunkard's conversion" as a model of selfhood for the liberal era, allowing for a spiritual redemption story that could accommodate a variety of identities and compulsions. He concludes by considering how contemporary recovery narratives represent both a crisis in liberal democracy and a potential for redemptive social progress.
"James Cannon, formerly national affairs editor at Newsweek and Ford's domestic policy advisor, has written a superbly provocative and arresting biography that traces Ford's life from his July 4, 1913, birth in Omaha, Nebraska, to his September 8,1974, decision to pardon Nixon of the Watergate conspiracy." --Washington Post Book World
James M. Cannon is a journalist and was Domestic Policy Adviser to President Ford and Chief of Staff to Senate Majority Leader Howard Baker.
“Not since Harry Truman succeeded Franklin D. Roosevelt twenty-nine years earlier had the American people known so little about a man who had stepped forward from obscurity to take the oath of office as President of the United States.”
—from Chapter 4
This is a comprehensive narrative account of the life of Gerald Ford written by one of his closest advisers, James Cannon. Written with unique insight and benefiting from personal interviews with President Ford in his last years, Gerald R. Ford: An Honorable Life is James Cannon’s final look at the simple and honest man from the Midwest.
The first Earth Day in 1970 marked environmentalism’s coming-of-age in the United States. More than four decades later, does the green movement remain a transformative force in American life? Presenting a new account from a legal perspective, Environment in the Balance interprets a wide range of U.S. Supreme Court decisions, along with social science research and the literature of the movement, to gauge the practical and cultural impact of environmentalism and its future prospects.
Jonathan Z. Cannon demonstrates that from the 1960s onward, the Court’s rulings on such legal issues as federalism, landowners’ rights, standing, and the scope of regulatory authority have reflected deep-seated cultural differences brought out by the mass movement to protect the environment. In the early years, environmentalists won some important victories, such as the Supreme Court’s 1973 decision allowing them to sue against barriers to recycling. But over time the Court has become more skeptical of their claims and more solicitous of values embodied in private property rights, technological mastery and economic growth, and limited government.
Today, facing the looming threat of global warming, environmentalists struggle to break through a cultural stalemate that threatens their goals. Cannon describes the current ferment in the movement, and chronicles efforts to broaden its cultural appeal while staying connected to its historical roots, and to ideas of nature that have been the source of its distinctive energy and purpose.
Christine M. Cano’s Proust’s Deadline presents a concise history of the publishing and reception of À la recherche du temps perdu, and sorts out the most important issues that have arisen from the ensuing debates about the text. She ultimately shows how this quintessential “book about time” tells another story about time’s passage: the story of Proust’s mortal confrontation with the temporality of writing, publishing, and reading.
Written in a lucid style accessible to the nonspecialist, David T. Canon's Actors, Athletes, and Astronauts is a definitive study of political amateurs in elections and in Congress. Canon examines the political conditions that prompt amateurs to run for office, why they win or lose, and whether elected amateurs behave differently from their experienced counterparts. Challenging previous work which presumed stable career structures and progressively ambitious candidates, his study reveals that amateurs are disproportionately elected in periods of high political opportunity, such as the 1930s for Democrats and 1980s for Republicans.
Canon's detailed findings call for significant revision of our prevailing understanding of ambition theory and disarm monolithic interpretations of political amateurs. His unique typology of amateurism differentiates among policy-oriented, "hopeless," or ambitious amateurs. The latter resemble their professional counterparts; "hopeless" amateurs are swept into office by strong partisan motivations and decision-making styles of each type vary, affecting their degree of success, but each type of amateur provides a necessary electoral balance by defeating entrenched incumbents rarely challenged by more experienced politicians.
In the most comprehensive treatment of the subject to date, David Canon shows that the unintended consequences of black majority districts actually contradict the common wisdom that whites will not be adequately represented in these areas. Not only do black candidates need white votes to win, but this crucial "swing" vote often decides the race. And, once elected, even the black members who appeal primarily to black voters usually do a better job than white members of walking the racial tightrope, balancing the needs of their diverse constituents.
Ultimately, Canon contends, minority districting is good for the country as a whole. These districts not only give African Americans a greater voice in the political process, they promote a politics of commonality—a biracial politics—rather than a politics of difference.
Until the 1960s, the Ayoreo people of Paraguay's Chaco region had remained uncontacted by the world. But as development encroached on their territory, the Ayoreo began to experience rapid cultural change. Paola Canova looks at one aspect of this change in Frontier Intimacies: the sexual practices of Ayoreo women, specifically the curajodie, or single women who exchange sex for money or material goods with non-Ayoreo men, often Mennonite settlers.
Weaving personal anecdotes into her extensive research, Canova shows how the advancement of economic and missionary frontiers has reconfigured gender roles, sexual ethics, and notions of desire in the region. Ayoreo women, she shows, have reappropriated their sexual practices, approaching intimate liaisons on their own terms and seeing the involvement of money not as morally problematic but as constitutive of sexual encounters. By using their sexuality to construct an intimate frontier operating according to their own logics, Canova reveals, Ayoreo women expose the fractured workings of frontier capitalism in spaces of rapid transformation. Inviting broader examination of the ways in which contemporary frontier economies are constructed and experienced, Frontier Intimacies brings a captivating new perspective to the economic development of the Chaco region.
Inside Academic Writing is designed to prepare students in any academic discipline for graduate-level writing. The text situates students within their writing communities by prioritizing the steps of learning; students are directed to use common threads of academic writing across disciplines. The goal of Inside Academic Writing is to give students the opportunity to write for a variety of audiences and to develop the knowledge necessary to recognize how to write for different audiences and purposes.
Inside Academic Writing allows students to examine basic assumptions about writing before they learn specific strategies for targeting the audience or mapping the flow of information. Through the material in this textbook, students will create a portfolio of writings that includes a biographical statement and a research interest essay—important pieces of writing that are rarely taught in courses. Other types of writing featured are a summary, a problem-solution text, a comparative structure paper, and a commentary.
Other textbooks prepare students for graduate writing, but Inside Academic Writing was designed to bridge the gap between non-academic writing and the writing required within an academic community, with one’s peers, colleagues, and field experts. In addition, Inside Academic Writing offers guidance on writing materials for grants, fellowships, conferences, and publication.
This memoir, available for the first time in English, tells the story of the first chapter of Cansiz’s life, from the founding of the PKK in 1974 through her arrest in 1979. She writes here about the excitement of entering the movement as a young woman—and discovering quickly that she would have to challenge traditional gender roles as she rose among its ranks. And she succeeded: total gender equality is now one of the central tenets of the PKK.
Today, Sara lives on, an inspiration to women fighting for liberation around the world. Her story, told in her own words, is by turns shocking, violent, and groundbreaking.
Unlike many other handicrafts in the Mexican state of Oaxaca, which have long cultural and historical trajectories, Oaxacan woodcarving began in the second half of the twentieth century and has always been done for the commercial market. In The Value of Aesthetics, Alanna Cant explores how one family’s workshop in the village of San Martín Tilcajete has become the most critically and economically successful, surpassing those of neighbors who use similar materials and techniques. The dominance of this family is tied to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the national market for traditional Mexican artesanías, and the international market for indigenous art.
Offering a new analytical model by which anthropologists can approach visual aesthetics and conceptualize the power of artworks as socially active objects, The Value of Aesthetics shows how aesthetic practices produce and redefine social and political relationships. By investigating the links between aesthetics and issues of production, authorship, ownership, and identity, Cant shows aesthetic change to be a process that ultimately repackages everyday life into commodified objects in Oaxaca.
In 1969, Juan Velasco Alvarado’s military government began an ambitious land reform program in Peru, transferring holdings from large estates to peasant cooperatives. Fifty years later this reform remains controversial: critics claim it unjustly expropriated land and ruined the Peruvian economy, while supporters emphasize its success in addressing rural inequality and exploitation.
Moving beyond agricultural policy to offer a fresh perspective on the agrarian reform, Land without Masters shows how ideological assumptions and state interventions surrounding the reform transformed Peru’s political culture and social fabric. Drawing on fieldwork in three different regions, Anna Cant shows how the government adapted its discourse and interventions to the local context while using the reform as a platform for nation-building. This comparative approach reveals how local actors shaped the regional impact of the agrarian reform and highlights the new forms of agency that emerged, including that of marginalized peasants who helped forge a new social, cultural, and political landscape.
Making novel use of both visual and cultural sources, this book is a fascinating look at how the agrarian reform process permanently altered the relationship between rural citizens and the national government—and how it continues to resonate in Peruvian politics today.
This eye-opening personal history tells the story of an American college professor’s twenty-year engagement with a thriving Africa rarely encountered by Western visitors, including an extraordinary connection to poets across the continent. At once adventurous, spiritual, political, dreamlike, and humorous, Joining Africa is a unique documentary of a journey through the continent, including an intense five-year encounter with economically struggling but culturally fertile Eritrea. The Africa presented here is neither a postcolonial study nor an exotic tourist destination. It is rich with the voices of its people, whose languages, Cantalupo argues, have greater potential to effect change than any NGO or high-profile celebrity. In vibrant prose, Cantalupo’s book extends a stirring invitation to reevaluate how we engage—both individually and collectively—with this remarkable part of the world.
The first English translation of the earliest Latin poems about miracles performed by the Virgin Mary, composed in twelfth-century Canterbury by a Benedictine monk who inspired Chaucer.
Nigel (ca. 1135–1198), a Benedictine monk at Christ Church in Canterbury, is best known for The Mirror of Fools—a popular satire whose hero Burnellus the Ass is referenced in Chaucer’s Canterbury Tales. Nigel’s oeuvre also includes other important poems and hagiography.
The Miracles of the Virgin is the oldest Latin poem about miracles performed by Mary. This collection features seventeen lively tales in which the Virgin rescues a disappointed administrator from a pact with the devil, has a Roman emperor killed by a long-dead martyr, saves a Jewish boy from being burned alive, and shields an abbess from the shame of pregnancy. Each story illustrates the boundlessness of Mary’s mercy. In the Tract on Abuses, a letter that resembles a religious pamphlet, Nigel rails against ecclesiastical corruption and worldly entanglements.
Alongside authoritative editions of the Latin texts, this volume offers the first translations of both works into English.
Set in the time of the crucial 1970 Swiss referendum on immigration, Monica Cantieni introduces us to a host of colorful characters who struggle to make Switzerland their home: Eli, the Spanish bricklayer; Toni, the Italian factory worker with movie star looks; Madame Jelisaweta, the Yugoslav hairdresser; and Milena, the mysterious girl in the wardrobe. This is a book with a very warm heart, and rarely has a young girl’s narrative been at once so uproariously hilarious and so deeply moving.
Of the fifty thousand Americans who declared themselves conscientious objectors during World War II, nearly six thousand went to prison, many serving multiyear sentences in federal lockups. Some conscientious objectors, notably Robert Lowell, William Everson, and William Stafford, went on to become important figures in the literary life of their country, while others were participants and teachers in the civil rights and antiwar movements of the 1950s, 1960s, and 1970s. This long out-of-print book, reprinted from the rare original 1951 edition, collects firsthand accounts by conscientious objectors who were imprisoned for their beliefs.
Prison Etiquette is illustrated with eleven line drawings by Lowell Naeve.
Darwin’s theory of evolution transformed the life sciences and made profound claims about human origins and the human condition, topics often viewed as the prerogative of religion. As a result, evolution has provoked a wide variety of religious responses, ranging from angry rejection to enthusiastic acceptance. While Christian responses to evolution have been studied extensively, little scholarly attention has been paid to Jewish reactions. Jewish Tradition and the Challenge of Darwinism is the first extended meditation on the Jewish engagement with this crucial and controversial theory.
The contributors to Jewish Tradition and the Challenge of Darwinism—from several academic disciplines and two branches of the rabbinate—present case studies showing how Jewish discussions of evolution have been shaped by the intersections of faith, science, philosophy, and ideology in specific historical contexts. Furthermore, they examine how evolutionary theory has been deployed when characterizing Jews as a race, both by Zionists and by anti-Semites. Jewish Tradition and the Challenge of Darwinism addresses historical and contemporary, as well as progressive and Orthodox, responses to evolution in America, Europe, and Israel, ultimately extending the history of Darwinism into new religious domains.
Since the earliest days of the British fur trade, Jewish pioneers have made Michigan their home. Judith Levin Cantor's Jews in Michigan captures the struggles and triumphs of Michigan's Jews as they worked to establish farms, businesses and synagogues, sparking commercial and residential development throughout the state, and even into the far reaches of the Upper Peninsula. Cantor celebrates both urban and rural immigrants, who supplied essential goods and services to those in lumbering, mining, and automobile manufacturing. She also deals honestly with questions of anti-Semitism and prejudice. Cantor's book shows how, in the quest to build strong communities, Jewish residents also helped create the foundations of the Michigan we know today.
Louis Cantor illuminates Phillips's role in turning a huge white audience on to previously forbidden race music. Phillips's zeal for rhythm and blues legitimized the sound and set the stage for both Elvis's subsequent success and the rock 'n' roll revolution of the 1950s. Using personal interviews, documentary sources, and oral history collections, Cantor presents a personal view of the disc jockey while restoring Phillips's place as an essential figure in rock 'n' roll history.
What will become of our earthly remains? What happens to our bodies during and after the various forms of cadaver disposal available? Who controls the fate of human remains? What legal and moral constraints apply? Legal scholar Norman Cantor provides a graphic, informative, and entertaining exploration of these questions. After We Die chronicles not only a corpse’s physical state but also its legal and moral status, including what rights, if any, the corpse possesses.
In a claim sure to be controversial, Cantor argues that a corpse maintains a “quasi-human status" granting it certain protected rights—both legal and moral. One of a corpse’s purported rights is to have its predecessor’s disposal choices upheld. After We Die reviews unconventional ways in which a person can extend a personal legacy via their corpse’s role in medical education, scientific research, or tissue transplantation. This underlines the importance of leaving instructions directing post-mortem disposal. Another cadaveric right is to be treated with respect and dignity. After We Die outlines the limits that “post-mortem human dignity” poses upon disposal options, particularly the use of a cadaver or its parts in educational or artistic displays.
Contemporary illustrations of these complex issues abound. In 2007, the well-publicized death of Anna Nicole Smith highlighted the passions and disputes surrounding the handling of human remains. Similarly, following the 2003 death of baseball great Ted Williams, the family in-fighting and legal proceedings surrounding the corpse’s proposed cryogenic disposal also raised contentious questions about the physical, legal, and ethical issues that emerge after we die. In the tradition of Sherwin Nuland's How We Die, Cantor carefully and sensitively addresses the post-mortem handling of human remains.
Cantor analyzes the way Shakespeare chronicles the rise and fall of the Roman Republic and the emergence of the Roman Empire. The transformation of the ancient city into a cosmopolitan empire marks the end of the era of civic virtue in antiquity, but it also opens up new spiritual possibilities that Shakespeare correlates with the rise of Christianity and thus the first stirrings of the medieval and the modern worlds.
More broadly, Cantor places Shakespeare’s plays in a long tradition of philosophical speculation about Rome, with special emphasis on Machiavelli and Nietzsche, two thinkers who provide important clues on how to read Shakespeare’s works. In a pathbreaking chapter, he undertakes the first systematic comparison of Shakespeare and Nietzsche on Rome, exploring their central point of contention: Did Christianity corrupt the Roman Empire or was the corruption of the Empire the precondition of the rise of Christianity? Bringing Shakespeare into dialogue with other major thinkers about Rome, Shakespeare’s Roman Trilogy reveals the true profundity of the Roman Plays.
In Shakespeare’s Rome, Cantor examines the political settings of Shakespeare’s Roman plays, Coriolanus and Antony and Cleopatra, with references as well to Julius Caesar. Cantor shows that Shakespeare presents a convincing portrait of Rome in different eras of its history, contrasting the austere republic of Coriolanus, with its narrow horizons and martial virtues, and the cosmopolitan empire of Antony and Cleopatra, with its “immortal longings” and sophistication bordering on decadence.
Drawing from new archival materials as well as on-the-ground field research, Revival and Reconciliation is a Rwanda-centered account of the country's ecclesiastical and national historiography. Cantrell calls attention to the harms the postgenocide church risks doing should it continue to support false narratives about Rwanda's colonial and postcolonial past—with dangerous consequences for the future.
Greasepaint Puritan aims to find out and reclaim his story. Descended from Mayflower Pilgrims, Ropes rebelled against the “Proper Bostonian” life, in a career that touched upon the Jazz Age, American vaudeville, and theater censorship. We follow Ropes’s successful career as both a performer and the author of the trilogy of backstage novels: 42nd Street, Stage Mother, and Go Into Your Dance. Populated by scheming stage mothers, precocious stage children, grandiose bit players, and tart-tongued chorines, these novels centered on the lives and relationships of gay men on Broadway during the Jazz Age and Prohibition era. Rigorously researched, Greasepaint Puritan chronicles Ropes’s career as a successful screenwriter in 1930s and ’40s Hollywood, where he continued to be a part of a dynamic gay subculture within the movie industry before returning to obscurity in the 1950s. His legacy lives on in the Hollywood and Broadway incarnations of 42nd Street—but Greasepaint Puritan restores the “forgotten melody” of the man who first envisioned its colorful characters.
Merle Haggard has enjoyed artistic and professional triumphs few can match. He’s charted more than a hundred country hits, including thirty-eight number ones. He’s released dozens of studio albums and another half dozen or more live ones, performed upwards of ten thousand concerts, been inducted into the Country Music Hall of Fame, and seen his songs performed by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Willie Nelson, the Grateful Dead, and Bob Dylan. In 2011 he was feted as a Kennedy Center Honoree. But until now, no one has taken an in-depth look at his career and body of work.
In Merle Haggard: The Running Kind, David Cantwell takes us on a revelatory journey through Haggard’s music and the life and times out of which it came. Covering the entire breadth of his career, Cantwell focuses especially on the 1960s and 1970s, when Haggard created some of his best-known and most influential music, which helped invent the America we live in today. Listening closely to a masterpiece-crowded catalogue (including songs such as “Okie from Muskogee,” “Sing Me Back Home,” “Mama Tried,” “Working Man Blues,” “Kern River,” “White Line Fever,” “Today I Started Loving You Again,” and “If We Make It through December,” among many more), Cantwell explores the fascinating contradictions—most of all, the desire for freedom in the face of limits set by the world or self-imposed—that define not only Haggard’s music and public persona but the very heart of American culture.
2022 Belmont Award for the Best Book on Country Music, International Country Music Conference/Belmont University
New and expanded biography of one of country music’s most celebrated singer-songwriters.
Merle Haggard enjoyed numerous artistic and professional triumphs, including more than a hundred country hits (thirty-eight at number one), dozens of studio and live album releases, upwards of ten thousand concerts, induction into the Country Music Hall of Fame, and songs covered by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Bobby "Blue" Bland, Willie Nelson, the Grateful Dead, and Bob Dylan.
In The Running Kind, a new edition that expands on his earlier analysis and covers Haggard's death and afterlife as an icon of both old-school and modern country music, David Cantwell takes us on a revelatory journey through Haggard’s music and the life and times out of which it came. Covering the breadth of his career, Cantwell focuses especially on the 1960s and 1970s, when Haggard created some of his best-known and most influential music: songs that helped invent the America we live in today. Listening closely to a masterpiece-crowded catalogue (including “Okie from Muskogee,” “Sing Me Back Home,” “Mama Tried,” and “Working Man Blues,” among many more), Cantwell explores the fascinating contradictions—most of all, the desire for freedom in the face of limits set by the world or self-imposed—that define not only Haggard’s music and public persona but the very heart of American 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.
When We Were Good traces the many and varied cultural influences on the folk revival of the sixties from early nineteenth-century blackface minstrelsy; the Jewish entertainment and political cultures of New York in the 1930s; the Almanac singers and the wartime crises of the 1940s; the watershed record album Folkways Anthology of American Folk Music; and finally to the cold-war reactionism of the 1950s. This drove the folk-song movement, just as Pete Seeger and the Weavers were putting "On Top of Old Smokey" and "Goodnight, Irene" on the Hit Parade, into a children's underground of schools, summer camps, and colleges, planting the seeds of the folk revival to come. The book is not so much a history as a study of the cultural process itself, what the author calls the dreamwork of history.
Cantwell shows how a body of music once enlisted on behalf of the labor movement, antifascism, New Deal recovery efforts, and many other progressive causes of the 1930s was refashioned as an instrument of self-discovery, even as it found a new politics and cultural style in the peace, civil rights, and beat movements. In Washington Square and the Newport Folk Festival, on college campuses and in concert halls across the country, the folk revival gave voice to the generational tidal wave of postwar youth, going back to the basics and trying to be very, very good.
In this capacious analysis of the ideologies, traditions, and personalities that created an extraordinary moment in American popular culture, Cantwell explores the idea of folk at the deepest level. Taking up some of the more obdurate problems in cultural studies--racial identity, art and politics, regional allegiances, class differences--he shows how the folk revival was a search for authentic democracy, with compelling lessons for our own time.
Gloria Evangelina Anzaldúa—theorist, Chicana, feminist—famously called on scholars to do work that matters. This pronouncement was a rallying call, inspiring scholars across disciplines to become scholar-activists and to channel their intellectual energy and labor toward the betterment of society. Scholars and activists alike have encountered and expanded on these pathbreaking theories and concepts first introduced by Anzaldúa in Borderlands/La frontera and other texts.
Teaching Gloria E. Anzaldúa is a pragmatic and inspiring offering of how to apply Anzaldúa’s ideas to the classroom and in the community rather than simply discussing them as theory. The book gathers nineteen essays by scholars, activists, teachers, and professors who share how their first-hand use of Anzaldúa’s theories in their classrooms and community environments.
The collection is divided into three main parts, according to the ways the text has been used: “Curriculum Design,” “Pedagogy and Praxis,” and “Decolonizing Pedagogies.” As a pedagogical text, Teaching Gloria E. Anzaldúa also offers practical advice in the form of lesson plans, activities, and other suggested resources for the classroom. This volume offers practical and inspiring ways to deploy Anzaldúa’s transformative theories with real and meaningful action.
Contributors
Carolina E. Alonso
Cordelia Barrera
Christina Bleyer
Altheria Caldera
Norma E. Cantú
Margaret Cantú-Sánchez
Freyca Calderon-Berumen
Stephanie Cariaga
Dylan Marie Colvin
Candace de León-Zepeda
Miryam Espinosa-Dulanto
Alma Itzé Flores
Christine Garcia
Patricia M. García
Patricia Pedroza González
María del Socorro Gutiérrez-Magallanes
Leandra H. Hernández
Nina Hoechtl
Rían Lozano
Socorro Morales
Anthony Nuño
Karla O’Donald
Christina Puntasecca
Dagoberto Eli Ramirez
José L. Saldívar
Tanya J. Gaxiola Serrano
Verónica Solís
Alexander V. Stehn
Carlos A. Tarin
Sarah De Los Santos Upton
Carla Wilson
Kelli Zaytoun
The poems are a celebration of culture, tradition, and creativity that navigates themes of love, solidarity, and political transformation. Deeply personal yet warmly relatable, these poems flow from Spanish to English gracefully. With Gloria Anzaldúa’s foundational work as an inspiration, Meditación Fronteriza unveils unique images that provide nuance and depth to the narrative of the borderlands.
Poems addressed to talented and influential women such as Gwendolyn Brooks and Adrienne Rich, among others, pour gratitude and recognition into the collection. While many of the poems in Meditación Fronteriza are gentle and inviting, there are also moments that grieve for the state of the borderlands, calling for political resistance.
Artist Raquel Valle-Sentíes’s portraits bring visual dimension, while essays delve deeply into the authors’ lives for details that inform their literary, artistic, feminist, and political trajectories and sensibilities. The collection brilliantly intersects artistic visual and literary cultural productions, allowing complex themes to emerge, such as the fragility of life, sexism and misogyny, Chicana agency and forging one’s own path, the struggles of becoming a writer and battling self-doubt, economic instability, and political engagement and activism.
Arranged chronologically by birth order of the authors, the book can be read cover to cover for a genealogical overview, or scholars and general readers can easily jump in at any point and read about an individual author, regardless of the chronology.
Biographies included in this work include Raquel Valle-Sentíes, Angela de Hoyos, Montserrat Fontes, Gloria E. Anzaldúa, Norma E. Cantú, Denise Elia Chávez, Carmen Tafolla, Cherríe Moraga, Ana Castillo, Lorna Dee Cervantes, Sandra Cisneros, and Demetria Martínez.
Contributors
Cordelia E. Barrera
Mary Pat Brady
Norma E. Cantú
María Jesus Castro Dopacio
Carlos Nicolás Flores
Myrriah Gómez
Maria Magdalena Guerra de Charur
Gabriella Gutiérrez y Muhs
Georgina Guzmán
Cristina Herrera
María Esther Quintana
Eliza Rodríguez y Gibson
Meagan Solomon
Lourdes Torres
Raquel Valle-Sentíes
Jen Yáñez-Alaniz
This book is intended to serve as a resource for those scientists working closely in this field, while at the same time it provides enough balance and depth to offer an introduction for students or technically minded general readers. Its thirty chapters address isotopic and chemical constraints on accretion, the dynamics of terrestrial planet formation, the impact-triggered formation of the Earth-Moon system, differentiation of the Earth and Moon, the origin of terrestrial volatiles, and conditions on the young Earth and Moon.
Covering such subjects as the history and origin of the Moon's orbit, water on the Earth, and the implications of Earth-Moon interactions for terrestrial climate and life, the book constitutes a state-of-the-art overview of the most recent investigations in the field. Although many advances have been made in our ability to evaluate competing models of the formation of the Earth-Moon system, there are still many gaps in our understanding. This book makes great strides toward closing those gaps by highlighting the extensive progress that has been made and pointing toward future research.
Painting US Empire is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Maggie M. Cao crafts a nuanced portrait of nineteenth-century US painters’ complicity and resistance in the face of ascendant US imperialism, offering eye-opening readings of canonical paintings: landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre painting, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Cao examines artists who both championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Maria Thereza Alves, Tavares Strachan, Nicholas Galanin, Yuki Kihara, and Carlos Martiel, Cao addresses current questions around representation, colonialism, and indigeneity. This book foregrounds an overlooked topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire.
Originally released in 1980, Lucia Capacchione’s The Creative Journal has become a classic in the fields of art therapy, memoir and creative writing, art journaling, and creativity development. Using more than fifty prompts and vibrantly illustrated examples, Capacchione guides readers through drawing and writing exercises to release feelings, explore dreams, and solve problems creatively. Topics include emotional expression, healing the past, exploring relationships, self-inventory, health, life goals, and more. The Creative Journal introduced the world to Capacchione’s groundbreaking technique of writing with the nondominant hand for brain balancing, finding innate wisdom, and developing creative potential.
This thirty-fifth anniversary edition includes a new introduction and an appendix listing the many venues that have adopted Capacchione’s methods, including public schools, recovery programs, illness support groups, spiritual retreats, and prisons. The Creative Journal has become a mainstay text for college courses in psychology, art therapy, and creative writing. It has proven useful for journal keepers, counselors, and teachers. Through doodles, scribbles, written inner dialogues, and letters, people of all ages have discovered vast inner resources.
From stories of red-tailed hawks making their homes on the ledges of Manhattan skyscrapers to their role in protecting California's vineyards from flocks of grape-loving starlings, How Fast Can a Falcon Dive? explores how these avian predators interact with people and with their environment.
In Social Justice: Theories, Issues, and Movements, Loretta Capeheart and Dragan Milovanovic respond to the need for a comprehensive introduction to this topic. The authors argue that common conceptions of criminal justice--which accept, for the most part, a politically established definition of crime--are too limited. Instead, they show the relevancy of history, political economy, culture, critique, and cross-cultural engagement to the advancement of justice.
Drawing on contemporary issues ranging from globalization to the environment, this essential textbook--ideal for course use--encourages practitioners, reformists, activists, and scholars to question the limits of the law in its present state in order to develop a fairer system at the local, national, and global levels.
Theories of social justice are presented in an accessible fashion to encourage engagement of students, activists, and scholars with these important lines of inquiry. Issues are analyzed utilizing various theories for furthering engagement in possibilities. Struggles for justice -- from legal cases to on the ground movements -- are presented for historical context and to inform the way forward.
When did Israel begin? The origins of ancient Israel are shrouded in mystery, and those hoping to explore the issue must utilize resources from three different fields—archaeology, epigraphy, and biblical texts—and then examine their interrelations while keeping in mind that the name Israel was not used to describe just one state but referred to numerous entities at different times.
Archaeology, History, and Formation of Identity in Ancient Israel provides a critical reading of Israel’s history. It is neither a harmonizing reading, which takes the picture painted by texts as a given fact, nor a reading supporting biblical texts with archaeological and epigraphic data; instead, it offers the reader multiple options to understand biblical narratives on a historical and theological level. In addition to presenting the main currents in the field, the book draws upon the latest discoveries from Czech-Israeli excavations to offer new hypotheses and reconstructions based on the interdisciplinary dialogue between biblical studies, archaeology, and history.
In the seventeenth century, local Jesuits and Franciscans imagined Quito as the “new Rome.” It was the site of miracles and home of saintly inhabitants, the origin of crusades into the surrounding wilderness, and the purveyor of civilization to the entire region. By the early twentieth century, elites envisioned the city as the heart of a modern, advanced society—poised at the physical and metaphysical centers of the world.
In this original cultural history, Ernesto Capello analyzes the formation of memory, myth, and modernity through the eyes of Quito’s diverse populations. By employing Mikhail Bakhtin’s concept of chronotopes, Capello views the configuration of time and space in narratives that defined Quito’s identity and its place in the world. He explores the proliferation of these imaginings in architecture, museums, monuments, tourism, art, urban planning, literature, religion, indigenous rights, and politics. To Capello, these tropes began to crystallize at the end of the nineteenth century, serving as a tool for distinct groups who laid claim to history for economic or political gain during the upheavals of modernism.
As Capello reveals, Quito’s society and its stories mutually constituted each other. In the process of both destroying and renewing elements of the past, each chronotope fed and perpetuated itself. Modern Quito thus emerged at the crux of Hispanism and Liberalism, as an independent global society struggling to keep the memory of its colonial and indigenous roots alive.
It was the original Survivor series, only without the omnipresent cameras, paramedics, and faux tribal rituals. Between the spring of 1947 and the summer of the year 2000, more than forty expeditions sought to drift across the oceans of the world on rafts made from straw, from bamboo, and from the same kinds of wood that children use to make model airplanes. These audacious raft voyages began with the legendary Kon-Tiki expedition, under the leadership of the renowned Norwegian explorer Thor Heyerdahl. The Kon-Tiki balsa wood raft drifted more than four thousand miles from Peru to Polynesia, and remained afloat months after experts predicted it would sink to the bottom of the Pacific. Heyerdahl’s radical thesis of a prehistoric world where ancient mariners drifted between continents on ocean currents electrified the postwar world. His Kon-Tiki: Across the Pacific by Raft sold twenty million copies in sixty-five languages.
Sea Drift is the first and only book to document all of the transoceanic raft expeditions that were organized and carried out in the half century after Kon-Tiki. But it is much more than a simple history of exploration. Readers learn of the Mormon who drifted to Hawaii to prove that wise men from Israel had colonized America, and the Frenchman who squeezed fresh water from the entrails of fish as he drifted alone across the Atlantic in a rubber boat. Then there was the anthropologist who put five men and six women on a raft to see who would make love to whom first.
Spanning more than fifty years and recounting more than forty expeditions, Sea Drift is a riveting chronicle of human daring, endurance, and folly.
By tracking American fantasies in Philippine movies from the postindependence period to the present, José B. Capino offers an innovative account of cinema's cultural work in decolonization and globalization. Capino examines how a third world nation's daydreams both articulate empire and mobilize against it, provide imaginary maps and fables of identity for its migrant workers and diasporan subjects, pose challenges to the alibis of patriarchy and nationalism, and open up paths for participating in the cultures of globality.
Through close readings of more than twenty Philippine movies, Capino demonstrates the postcolonial imagination's vital role in generating pragmatic and utopian visions of living with empire. Illuminating an important but understudied cinema, he creates a model for understanding the U.S. image in the third world.
Winner of the 2018 Hollis Summers Poetry Prize
Joseph J. Capista’s Intrusive Beauty reckons with reluctant ecstasy and the improbable forms that beauty assumes. In this powerful debut, Capista traverses earth and ether to yield poems that elucidate the space between one’s life and one’s livelihood. While its landscapes range from back-alley Baltimore to the Bitterroot Valley, this book remains close to unbidden beauty and its capacity to sway one’s vision of the world. Whether a young father who won’t lower the volume on the radio or a Victorian farm boy tasked with scaring birds from seed-sown furrows, the inhabitants of Intrusive Beauty are witness to the startling ease with which one’s assorted lives come in time to comprise a singular life. Mortality, love, duty, desire, an acute longing for transcendence: here, old themes resound anew as they’re uttered in a multiplicity of forms and means, holding fast always to the heart.
Contributors: Allison Caplan, Martha Few, León García Garagarza, James Maley, John McCormack, Iris Montero Sobrevilla, Lisa Sousa
In the 1850s, "Drapetomania" was the medical term for a disease found among black slaves in the United States. The main symptom was a strange desire to run away from their masters. In earlier centuries gout was understood as a metabolic disease of the affluent, so much so that it became a badge of uppercrust honor—and a medical excuse to avoid hard work. Today, is there such a thing as mental illness, or is mental illness just a myth? Is Alzheimer's really a disease? What is menopause—a biological or a social construction?
Historically one can see that health, disease, and illness are concepts that have been ever fluid. Modern science, sociology, philosophy, even society—among other factors—constantly have these issues under microscopes, learning more, defining and redefining ever more exactly. Yet often that scrutiny, instead of leading toward hard answers, only leads to more questions. Health, Disease, and Illness brings together a sterling list of classic and contemporary thinkers to examine the history, state, and future of ever-changing "concepts" in medicine.
Divided into four parts—Historical Discussions; Characterizing Health, Disease, and Illness; Clinical Applications of Health and Disease; and Normalcy, Genetic Disease, and Enhancement: The Future of the Concepts of Health and Disease—the reader can see the evolutionary arc of medical concepts from the Greek physician Galen of Pergamum (ca. 150 ce) who proposed that "the best doctor is also a philosopher," to contemporary discussions of the genome and morality. The editors have recognized a crucial need for a deeper integration of medicine and philosophy with each other, particularly in an age of dynamically changing medical science—and what it means, medically, philosophically, to be human.
In Replacement Parts, internationally recognized bioethicist Arthur L. Caplan and coeditors James J. McCartney and Daniel P. Reid assemble seminal writings from medicine, philosophy, economics, and religion that address the ethical challenges raised by organ transplantation. Caplan's new lead essay explains the shortfalls of present policies. From there, book sections take an interdisciplinary approach to fundamental issues like the determination of death and the dead donor rule; the divisive case of using anencephalic infants as organ donors; the sale of cadaveric or live organs; possible strategies for increasing the number of available organs, including market solutions and the idea of presumed consent; and questions surrounding transplant tourism and "gaming the system" by using the media to gain access to organs.
Timely and balanced, Replacement Parts is a first-of-its-kind collection aimed at surgeons, physicians, nurses, and other professionals involved in this essential lifesaving activity that is often fraught with ethical controversy.
A little over 100 years ago, the first production of An-sky’s The Dybbuk, a play about the possession of a young woman by a dislocated spirit, opened in Warsaw. In the century that followed, The Dybbuk became a theatrical conduit for a wide range of discourses about Jews, belonging, and modernity. This timeless Yiddish play about spiritual possession beyond the grave would go on to exert a remarkable and unforgettable impact on modern theater, film, literature, music, and culture.
The Dybbuk Century collects essays from an interdisciplinary group of scholars who explore the play’s original Yiddish and Hebrew productions and offer critical reflections on the play’s enduring influence. The collection will appeal to scholars, students, and theater practitioners, as well as general readers.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press