Both a historical recovery and a critical rethinking of the functions and practices of textbooks, Archives of Instruction: Nineteenth-Century Rhetorics, Readers, and Composition Books in the United States argues for an alternative understanding of our rhetorical traditions. The authors describe how the pervasive influence of nineteenth-century literacy textbooks demonstrate the early emergence of substantive instruction in reading and writing. Tracing the histories of widespread educational practices, the authors treat the textbooks as an important means of cultural formation that restores a sense of their distinguished and unique contributions.
At the beginning of the nineteenth century, few people in the United States had access to significant school education or to the materials of instruction. By century’s end, education was a mass—though not universal—experience, and literacy textbooks were ubiquitous artifacts, used both in home and in school by a growing number of learners from diverse backgrounds. Many of the books have been forgotten, their contributions slighted or dismissed, or they are remembered through a haze of nostalgia as tokens of an idyllic form of schooling. Archives of Instruction suggests strategies for re-reading the texts and details the watersheds in the genre, providing a new perspective on the material conditions of schooling, book publication, and emerging practices of literacy instruction. The volume includes a substantial bibliography of primary and secondary works related to literacy instruction at all levels of education in the United States during the nineteenth century.
Black Nationalism in the New World combines geography, political economy, and subaltern studies in readings of noncanonical literary works, which in turn illuminate debates over African-American and West Indian culture, identity, and politics. In addition to Martin Delany’s Blake, or the Huts of America, Carr focuses on Pauline Hopkins’s Contending Forces; Crown Jewel, R. A. C. de Boissière’s novel of the Trinidadian revolt against British rule; Wilson Harris’s Guyana Quartet; the writings of the Oakland Black Panthers—particularly Huey Newton, Bobby Seale, and Eldridge Cleaver; the gay novella Just Being Guys Together; and Lionheart Gal, a collection of patois testimonials assembled by Sistren, a radical Jamaican women’s theater group active in the ‘80s.
With its comparative approach, broad historical sweep, and use of texts not well known in the United States, Black Nationalism in the New World extends the work of such theorists as Homi Bhabha, Paul Gilroy, and Nell Irwin Painter. It will be necessary reading for those interested in African American studies, Caribbean studies, cultural studies, women’s studies, and American studies.
A careful analysis of the rhetorical thought of René Descartes and of a distinguished group of post-Cartesians. Covering a unique range of authors, including Bernard Lamy and Nicolas Malebranche, Carr attacks the idea, which has become commonplace in contemporary criticism, that the Cartesian system is incompatible with rhetoric.
Carr analyzes the writings of Balzac, the Port-Royalists Arnauld and Nicole, Malebranche, and Lamy, exploring the evolution of Descartes’ thought into their different theories of rhetoric. He constructs his arguments, probing each author’s writings on rhetoric, persuasion, and attention, to demonstrate the basis for rhetorical thought present in Descartes’ theory of persuasion when it is combined with his psychophysiology of attention.
Katherine Anne Porter often spoke of her story "Flowering Judas" as the tale she liked best of all her stories because it came the nearest to what she meant it to be. It is the story of Laura, an idealistic woman, who travels to Mexico from Arizona at the age of twenty-two to assist the Obreg-n Revolution.
This casebook on "Flowering Judas" addresses Porter's ambivalence surrounding her roles as woman and artist and also attests to the profound influence of Mexico upon her work. Readers of this early tale will not be surprised to learn that although Porter was a practicing feminist in her life and her work, she actually eschewed the feminist label.
Virginia Spencer Carr brings her own sharply focused biographer's eye to the introduction, further illuminating the story and the superb critical essays that it provokes. The casebook includes the authoritative text of the story itself, Porter's own statement regarding the genesis of this highly acclaimed work, an important interview, a collection of significant essays on "Flowering Judas" and the historical, cultural, and personal milieu from which the tale evolved, a bibliography, and a chronology of Porter's life and work.
Following the success of The China Questions, a new volume of insights from top China specialists explains key issues shaping today’s US-China relationship.
For decades Americans have described China as a rising power. That description no longer fits: China has already risen. What does this mean for the US-China relationship? For the global economy and international security? Seeking to clarify central issues, provide historical perspective, and demystify stereotypes, Maria Adele Carrai, Jennifer Rudolph, and Michael Szonyi and an exceptional group of China experts offer essential insights into the many dimensions of the world’s most important bilateral relationship.
Ranging across questions of security, economics, military development, climate change, public health, science and technology, education, and the worrying flashpoints of Hong Kong, Taiwan, and Xinjiang, these concise essays provide an authoritative look at key sites of friction and potential collaboration, with an eye on where the US-China relationship may go in the future. Readers hear from leading thinkers such as James Millward on Xinjiang, Elizabeth Economy on diplomacy, Shelley Rigger on Taiwan, and Winnie Yip and William Hsiao on public health.
The voices included in The China Questions 2 recognize that the US-China relationship has changed, and that the policy of engagement needs to change too. But they argue that zero-sum thinking is not the answer. Much that is good for one society is good for both—we are facing not another Cold War but rather a complex and contextually rooted mixture of conflict, competition, and cooperation that needs to be understood on its own terms.
Designed as a survey and focused on key examples and movements arranged chronologically from 1903 to 2003, this is the first comprehensive history of modern architecture in Latin America in any language.
Runner-up, University Co-op Robert W. Hamilton Book Award, 2015
Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century. The number and types of projects varied greatly from country to country, but, as a whole, the region produced a significant body of architecture that has never before been presented in a single volume in any language. Modern Architecture in Latin America is the first comprehensive history of this important production.
Designed as a survey and focused on key examples/paradigms arranged chronologically from 1903 to 2003, this volume covers a myriad of countries; historical, social, and political conditions; and projects/developments that range from small houses to urban plans to architectural movements. The book is structured so that it can be read in a variety of ways—as a historically developed narrative of modern architecture in Latin America, as a country-specific chronology, or as a treatment of traditions centered on issues of art, technology, or utopia. This structure allows readers to see the development of multiple and parallel branches/historical strands of architecture and, at times, their interconnections across countries. The authors provide a critical evaluation of the movements presented in relationship to their overall goals and architectural transformations.
As an artist, art critic, museum director, and art educator, Jerry Bywaters reshaped the Texas art world and attracted national recognition for Texas artists. This first full-scale biography explores his life and work in the context of twentieth-century American art, revealing Bywaters' important role in the development of regionalist painting.
Francine Carraro delves into all aspects of Bywaters' career. As an artist, Bywaters became a central figure and spokesman for a group of young, energetic painters known as the Dallas Nine (Alexandre Hogue, Everett Spruce, Otis Dozier, William Lester, and others) who broke out of the limitations of provincialism and attained national recognition beginning in the 1930s.
As director of the Dallas Museum of Fine Arts, art critic for the Dallas Morning News, and professor of art and art history at Southern Methodist University, Bywaters became a champion of the arts in Texas. Carraro traces his strong supporting role in professionalizing art institutions in Texas and defendlng the right to display art considered "subversive" in the McCarthy era.
From these discussions emerges a finely drawn portrait of an artist who used a vocabulary of regional images to explore universal themes. It will be of interest to all students of American studies, national and regional art history, and twentieth-century biography.
"A must for both professional and serious non-professional students in Mesoamerica. Those who are interested in complex society and urbanism in general, as well as students of comparative religion, will find it stimulating. Most importantly, for anyone interested in the history of ideas, the book illuminates the tremendously powerful impact and role of a complex deity/mythico-historical figure in shaping one of the world's great pristine civilizations."
- Queen's Quarterly
The contributors to Mesoamerica's Classic Heritage offer a wide range of individual interpretations, but they agree that Teotihuacan, more than any other pre-Hispanic center, was a paradigmatic source that formed the art and architecture, cosmology and ritual life, and conceptions of urbanism and political authority for significant parts of the Mesoamerican world. This great city achieved the prestige of being the site of the creation of the cosmos and of effective social and political space in Mesoamerica through its capacity to symbolize, perform, and export its imperial authority. These essays reveal the different ways in which Teotihuacan's classic heritage both fed and fed on the dynamic interactivity of the entire area. Whether or not a paradigm shift in Mesoamerican studies is taking place, certainly a new contextual understanding of Teotihuacan and the diversities and unities of Mesoamerica is emerging in these pages.
With nearly 150 full-color illustrations, Moctezuma’s Mexico is an important and handsome book that will appeal to scholars and students of Mexico’s indigenous past.
Using an interdisciplinary approach that also considers legal, literary, and religious documents of the period, Magali Carrera focuses on eighteenth-century portraiture and casta paintings to understand how the people and spaces of New Spain were conceptualized and visualized.
Winner, Book Award, Association of Latin American Art, 2004
Reacting to the rising numbers of mixed-blood (Spanish-Indian-Black African) people in its New Spain colony, the eighteenth-century Bourbon government of Spain attempted to categorize and control its colonial subjects through increasing social regulation of their bodies and the spaces they inhabited. The discourse of calidad (status) and raza (lineage) on which the regulations were based also found expression in the visual culture of New Spain, particularly in the unique genre of casta paintings, which purported to portray discrete categories of mixed-blood plebeians.
Using an interdisciplinary approach that also considers legal, literary, and religious documents of the period, Magali Carrera focuses on eighteenth-century portraiture and casta paintings to understand how the people and spaces of New Spain were conceptualized and visualized. She explains how these visual practices emphasized a seeming realism that constructed colonial bodies—elite and non-elite—as knowable and visible. At the same time, however, she argues that the chaotic specificity of the lives and lived conditions in eighteenth-century New Spain belied the illusion of social orderliness and totality narrated in its visual art. Ultimately, she concludes, the inherent ambiguity of the colonial body and its spaces brought chaos to all dreams of order.
From the sixteenth century until the early nineteenth, Europeans had envisioned New Spain (colonial Mexico) in texts, maps, and other images. In the first decades of the 1800s, ideas about Mexican, rather than Spanish, national character and identity began to cohere in written and illustrated narratives produced by foreign travelers. During the nineteenth century, technologies and processes of visual reproduction expanded to include lithography, daguerreotype, and photography. New methods of display—such as albums, museums, exhibitions, and world fairs—signaled new ideas about spectatorship. García Cubas participated in this emerging visual culture as he reconfigured geographic and cultural imagery culled from previous mapping practices and travel writing. In works such as the Atlas geográfico (1858) and the Atlas pintoresco é historico (1885), he presented independent Mexico to Mexican citizens and the world.
A book lover today might sometimes feel like the fictional medieval friar William of Baskerville in Eco’s The Name of the Rose, watching the written word become lost to time. In This Is Not the End of the Book, that book’s author, Umberto Eco, and his fellow raconteur Jean-Claude Carriere sit down for a dazzling dialogue about memory and the pitfalls, blanks, omissions, and irredeemable losses of which it is made. Both men collect rare and precious books, and they joyously hold up books as hardy survivors, engaging in a critical, impassioned, and rollicking journey through book history, from papyrus scrolls to the e-book. Along the way, they touch upon science and subjectivity, dialectics and anecdotes, and they wear their immense learning lightly. A smiling tribute to what Marshall McLuhan called the Gutenberg Galaxy, this dialogue will be a delight for all readers and book lovers.
In this book Paul Carrick charts the ancient Greek and Roman foundations of Western medical ethics. Surveying 1500 years of pre-Christian medical moral history, Carrick applies insights from ancient medical ethics to developments in contemporary medicine such as advance directives, gene therapy, physician-assisted suicide, abortion, and surrogate motherhood. He discusses such timeless issues as the social status of the physician; attitudes toward dying and death; and the relationship of medicine to philosophy, religion, and popular morality. Opinions of a wide range of ancient thinkers are consulted, including physicians, poets, philosophers, and patients. He also explores the puzzling question of Hippocrates' identity, analyzing not only the Hippocratic Oath but also the Father of Medicine's lesser-known works.
Complete with chapter discussion questions, illustrations, a map, and appendices of ethical codes, Medical Ethics in the Ancient World will be useful in courses on the medical humanities, ancient philosophy, bioethics, comparative cultures, and the history of medicine. Accessible to both professionals and to those with little background in medical philosophy or ancient science, Carrick's book demonstrates that in the ancient world, as in our own postmodern age, physicians, philosophers, and patients embraced a diverse array of perspectives on the most fundamental questions of life and death.
On many Sundays, Black New Orleanians dance through city streets in Second Lines. These processions invite would-be spectators to join in, grooving to an ambulatory brass band for several hours. Though an increasingly popular attraction for tourists, parading provides the second liners themselves with a potent public expression of Black resistance.
Rachel Carrico examines the parading bodies in motion as a form of negotiating and understanding power. Seeing pleasure as a bodily experience, Carrico reveals how second liners’ moves link joy and liberation, self and communal identities, play and dissent, and reclamations of place. As she shows, dancers’ choices allow them to access the pleasure of reclaiming self and city through motion and rhythm while expanding a sense of the possible in the present and for the future.
In-depth and empathetic, Dancing the Politics of Pleasure at the New Orleans Second Line blends analysis with a chorus of Black voices to reveal an indelible facet of Black culture in the Crescent City.
Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
Writing in a fast-paced, down-to-earth style, Lois Carrier introduces a host of innovations and innovators associated with Illinois: Jane Addams and Louis Armstrong, Frank Lloyd Wright and Walt Disney, Cracker Jack and the Ferris wheel. From the Cahokia Mounds to Chicago, Illinois: Crossroads of a Continent provides a panoramic history for students and general readers.
In The Challenge of the Social and the Pressure of Practice, philosophers, sociologists, and historians of science offer a multidisciplinary view of the complex interrelationships of values in science and society in both contemporary and historic contexts. They analyze the impact of commercialization and politicization on epistemic aspirations, and, conversely, the ethical dilemmas raised by “practically relevant” science in today's society. For example, much scientific research over the past quarter century has been guided by the financing that supports it. What effect has this had on the quality of research produced and the advancement of real knowledge?
The contributors reveal how social values affect objectivity, theory, and the direction of inquiry, and examine the byproducts of external value systems in topics such as “expertise” and “socially robust knowledge,” among others. They view science's own internal value systems, the earlier disconnection of societal values from the scientific process, and the plausibility of “value free” science.
The Challenge of the Social and the Pressure of Practice presents an in-depth analysis that places the role of values at the center of philosophical debate and raises questions of morality, credibility, and the future role of values in scientific inquiry.
Living history is a style of instructive and entertaining performance that seeks to bring history to life with the use of costumes, tools, and reenactments appropriate to a specific time period. Done well, living history performances illuminate human experience in powerful, unforgettable ways.
The fifteen living history plays in this collection were commissioned by museums and historic sites in Texas to show the interdependence of African American experiences and contributions to the living history of Texas. The plays cover subject matter ranging from slave celebrations, family breakups, and running away, to the Civil War, emancipation, and Reconstruction. Each play is research based and performed by Talking Back Living History Theatre as a festival production. These scripts are easily performed, and author Naomi Mitchell Carrier has included production notes in the overviews that precede each play. Lesson plans are also included, which add to the collection's appeal as a classroom tool.
Carrier's talent for bringing historical figures to life is exceptional. The names of most primary characters in these plays are real. By giving them faces, feelings, intelligence, and dignity, Carrier aims to give them new life.
Combining theory, criticism, and narrative nonfiction, Carrillo Rowe develops a politics of relation that encourages the formation of feminist alliances across racial and other boundaries within academia. Such a politics of relation is founded on her belief that our subjectivities emerge in community; our affective investments inform and even create our political investments. Thus experience, consciousness, and agency must be understood as coalitional rather than individual endeavors. Carrillo Rowe’s conversations with academic feminists reveal that women who restrict their primary allies to women of their same race tend to have limited notions of feminism, whereas women who build transracial alliances cultivate more nuanced, intersectional, and politically transformative feminisms. For Carrillo Rowe, the institutionalization of feminism is not so much an achievement as an ongoing relational process. In Power Lines, she offers a set of critical, practical, and theoretical tools for building and maintaining transracial feminist alliances.
In Speculative Blackness, André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination.
Carrington’s argument about authorship, fandom, and race in a genre that has been both marginalized and celebrated offers a black perspective on iconic works of science fiction. He examines the career of actor Nichelle Nichols, who portrayed the character Uhura in the original Star Trek television series and later became a recruiter for NASA, and the spin-off series Star Trek: Deep Space Nine, set on a space station commanded by a black captain. He recovers a pivotal but overlooked moment in 1950s science fiction fandom in which readers and writers of fanzines confronted issues of race by dealing with a fictitious black fan writer and questioning the relevance of race to his ostensible contributions to the 'zines. Carrington mines the productions of Marvel comics and the black-owned comics publisher Milestone Media, particularly the representations of black sexuality in its flagship title, Icon. He also interrogates online fan fiction about black British women in Buffy the Vampire Slayer and the Harry Potter series.
Throughout this nuanced analysis, Carrington theorizes the relationship between race and genre in cultural production, revealing new understandings of the significance of blackness in twentieth-century American literature and culture.
Although George Eliot has long been described as “the novelist of the Midlands,” she often brought the outer reaches of the empire home in her work. Dark Smiles: Race and Desire in George Eliot studies Eliot’s problematic, career-long interest in representing racial and ethnic Otherness.
Placing Eliot’s diverse and wide-ranging treatment of Otherness in its contemporary context, Alicia Carroll argues that Eliot both engages and resists traditional racial and ethnic representations of Otherness. Carroll finds that Eliot, like other women writers of her time, often appropriates narratives of Otherness to explore issues silenced in mainstream Victorian culture, particularly the problem of the desirous woman. But if Otherness in Eliot’s century was usually gendered as woman and constructed as the object of white male desire, Eliot often seeks to subvert that vision. Professor Carroll demonstrates Eliot’s tendency to “exoticize” images of girlhood, vocation, and maternity in order to critique and explore gendered subjectivities. Indeed, the disruptive presence of a racial or ethnic outsider often fractures Eliot’s narratives of community, creating a powerful critique of home culture.
The consistent reliance of Eliot’s work upon racial and ethnic Otherness as a mode of cultural critique is explored here for the first time in its entirety.
REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman.
A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.
Laurent Clerc won lasting renown as the deaf teacher who helped Thomas Hopkins Gallaudet establish schools to educate deaf Americans in the 19th century. Now, his character as a young boy growing up in Paris has been captured in the novel Laurent Clerc.
In his own voice, Clerc vividly relates the experiences that led to his later progressive teaching methods. Especially influential was his long stay at the Royal National Institute for the Deaf in Paris, where he encountered sharply distinct personalities — the saintly, inspiring deaf teacher Massieu, the vicious Dr. Itard and his heartless “experiments” on deaf boys, and the “Father of the Deaf,” Abbe Sicard, who could hardly sign.
Young adult readers will find his story richly entertaining as well as informative.
In graduating from Gallaudet University, finding a job in Washington, D.C., and starting a family with her college sweetheart, Kitty Fischer tacitly abandoned the Louisiana Cajun culture that had exposed her to little more than prejudice and misery as a child. Upon discovering that she suffered from Usher syndrome (a genetic condition that causes both deafness and blindness), however, Fischer began an unlikely journey toward reclaiming her heritage. She and Cathryn Carroll tell the story of her heroic struggle and cultural odyssey in Orchid of the Bayou: A Deaf Woman Faces Blindness.
“By this time Mama knew I was ‘not right,’” Fischer says of her early childhood. “She knew the real words for ‘not right,’ too, though she never said those words. I was deaf and dumb.” Initially Fischer’s parents turned to folk healers to try and “cure” their daughter’s deafness, but an aunt’s fortunate discovery of the Louisiana School for the Deaf would rescue Fischer from misunderstanding and introduce her to sign language and Deaf culture. She weathered the school’'s experiments with oralism and soon rose to the top of her class, ultimately leaving Louisiana for the academic promise of Gallaudet.
While in college, Fischer met and married her future husband, Lance, a Jewish Deaf man from Brooklyn, New York, and each landed jobs close to their alma mater. After the birth of their first child, however, Fischer could no longer ignore her increasing tunnel vision. Doctors quickly confirmed that Fischer had Usher syndrome.
While Fischer struggled to come to terms with her condition, the high incidence of Usher syndrome among Cajun people led her to re-examine her cultural roots. “Could I still be me, Catherine Hoffpauir Fischer, had I not been born of a mix that codes for Usher syndrome?” she asks. “To some extent, the history of my people explains the constitution of my genes and the way my life has unfolded.” Today Fischer prospers, enjoying her time with family and friends and celebrating the Deaf, Cajun, Blind, and Jewish cultures that populate her life. Her lively story will resonate with anyone who recognizes the arduous journey toward claiming an identity.
Throughout Affirmative Reaction, Carroll examines the kinds of difference white masculinity claims for itself as it attempts to hold onto or maintain majority privilege. Whether these are traditional sites of minority difference—such as Irishness, white trash, or domestic melodrama—or reworked sites of masculinist investment—including laboring bodies, public-sphere politics, and vigilantism—the outcome is the same: the foregrounding of white masculinity over and against women, people of color, and the non-heteronormative. By revealing the strategies through which white masculinity is produced as a formal difference, Carroll sheds new light on the ways that privilege is accrued and maintained.
In an engaging, revisionist study, John M. Carroll argues that in the century after the Opium War, Hong Kong's colonial nature helped create a local Chinese business elite.
By the end of the nineteenth century, the colonial government saw Chinese businessmen as allies in establishing Hong Kong as a commercial center. The idea of a commercially vibrant China united them. Chinese and British leaders cooperated on issues of mutual concern, such as the expansion of capitalism and political and economic directions for an ailing China.
These Chinese also found opportunities in the colonial system to develop business and commerce. In doing so, they used Hong Kong's strategic position to underscore their own identity as a distinctive group unlike their mainland counterparts. Nationalism took on a specifically Hong Kong character. At the same time, by contributing to imperial war funds, organizing ceremonies for visiting British royalty, and attending imperial trade exhibitions, the Chinese helped make Hong Kong an active member of the global British Empire.
In Edge of Empires, Carroll situates Hong Kong squarely within the framework of both Chinese and British colonial history, while exploring larger questions about the meaning and implications of colonialism in modern history.
As a subject of inquiry, laws of nature exist in the overlap between metaphysics and the philosophy of science. Over the past three decades, this area of study has become increasingly central to the philosophy of science. It also has relevance to a variety of topics in metaphysics, philosophy of mind, philosophy of language, and epistemology.
Readings on Laws of Nature is the first anthology to offer a contemporary history of the problem of laws. The book is organized around three key issues: the matter of distinguishing laws from mere correlations, questions concerning inductive reasoning and laws, and the consideration of whether there are any true laws in science.
Designed for class use, the anthology covers a remarkably broad range of views and concerns, and consists exclusively of articles that have proved highly influential in the field. Readings on Laws of Nature will also serve as a valuable research and reference tool for philosophers who do not specialize in the subject, but who have occasion to examine concepts relating to the laws of nature in their own work.
In the late nineteenth century, medical educators intent on transforming American physicians into scientifically trained, elite professionals recognized the value of medical school design for their reform efforts. Between 1893 and 1940, nearly every medical college in the country rebuilt or substantially renovated its facility. In Building Schools, Making Doctors, Katherine Carroll reveals how the schools constructed during this fifty-year period did more than passively house a remodeled system of medical training; they actively participated in defining and promoting an innovative pedagogy, modern science, and the new physician.
Interdisciplinary and wide ranging, her study moves architecture from the periphery of medical education to the center, uncovering a network of medical educators, architects, and philanthropists who believed that the educational environment itself shaped how students learned and the type of physicians they became. Carroll offers the first comprehensive study of the science and pedagogy formulated by the buildings, the influence of the schools’ donors and architects, the impact of the structures on the urban landscape and the local community, and the facilities’ privileging of white men within the medical profession during this formative period for physicians and medical schools.
In Rehearsing New Roles: How College Students Develop as Writers, Lee Ann Carroll argues for a developmental perspective to counter the fantasy held by many college faculty that students should, or could, be taught to write once so that ever after, they can write effectively on any topic, any place, any time. Carroll demonstrates in this volume why a one- or two-semester, first-year course in writing cannot meet all the needs of even more experienced writers. She then shows how students’ complex literacy skills develop slowly, often idiosyncratically, over the course of their college years, as they choose or are coerced to take on new roles as writers.
As evidence, Carroll offers a longitudinal study of a group of students and the literacy environment they experienced in a midsize, independent university. Her study follows the experiences that altered their conception of writing in college and fostered their growing capacities as writers.
Carroll’s analysis of the data collected supports a limited but still useful role for first-year composition, demonstrates how students do learn to write differently across the curriculum in ways that may or may not be recognized by faculty, and evaluates the teaching and learning practices that promote or constrain students’ development.
When he settled in Mexican Texas in 1832 and began courting Anna Raguet, Sam Houston had been separated from his Tennessee wife Eliza Allen for three years, while having already married and divorced his Cherokee wife Tiana and at least two other Indian "wives" during the interval. Houston's political enemies derided these marital irregularities, but in fact Houston's legal and extralegal marriages hardly set him apart from many other Texas men at a time when illicit and unstable unions were common in the yet-to-be-formed Lone Star State.
In this book, Mark Carroll draws on legal and social history to trace the evolution of sexual, family, and racial-caste relations in the most turbulent polity on the southern frontier during the antebellum period (1823-1860). He finds that the marriages of settlers in Texas were typically born of economic necessity and that, with few white women available, Anglo men frequently partnered with Native American, Tejano, and black women. While identifying a multicultural array of gender roles that combined with law and frontier disorder to destabilize the marriages of homesteaders, he also reveals how harsh living conditions, land policies, and property rules prompted settling spouses to cooperate for survival and mutual economic gain. Of equal importance, he reveals how evolving Texas law reinforced the substantial autonomy of Anglo women and provided them material rewards, even as it ensured that cross-racial sexual relationships and their reproductive consequences comported with slavery and a regime that dispossessed and subordinated free blacks, Native Americans, and Tejanos.
An anthology that applies the concept of the sublime to cinema.
This interdisciplinary volume bridges the disciplines of aesthetics and film studies through an exploration of the cinematic sublime. The works collected here, written by contemporary film scholars and philosophers, apply sublime aesthetics to various film topics and case studies, ranging from early cinema and classical Hollywood to avant-garde film and contemporary digital cinema. Original and wide-ranging, The Cinematic Sublime offers new and exciting insights into how cinema engages with traditional historical and aesthetic discourse, and it will prove a useful resource for both post-graduate students and established scholars interested in the interrelations between film and philosophy.
What is art? The contributors to Theories of Art Today address the assertion that the term “art” no longer holds meaning. They explore a variety of issues including: aesthetic and institutional theories of art, feminist perspectives on the philosophy of art, the question of whether art is a cluster concept, and the relevance of tribal art to philosophical aesthetics. Contributors to this book include such distinguished philosophers and historians as Arthur Danto, Joseph Margolis, and George Dickie.
Beginning with the Spanish conquest, Mexico has become a racially complex society intermixing Indian, Spanish, and African populations. Questions of race and ethnicity have fueled much political and scholarly debate, sometimes obscuring the experiences of particular groups, especially blacks. Blacks in Colonial Veracruz seeks to remedy this omission by studying the black experience in central Veracruz during virtually the entire colonial period.
The book probes the conditions that shaped the lives of inhabitants in Veracruz from the first European contact through the early formative period, colonial years, independence era, and the postindependence decade. While the primary focus is on blacks, Carroll relates their experience to that of Indians, Spaniards, and castas (racially hybrid people) to present a full picture of the interplay between local populations, the physical setting, and technological advances in the development of this important but little-studied region.
Winner, Tullis Prize, Texas State Historical Association, 2004
Private First Class Felix Longoria earned a Bronze Service Star, a Purple Heart, a Good Conduct Medal, and a Combat Infantryman's badge for service in the Philippines during World War II. Yet the only funeral parlor in his hometown of Three Rivers, Texas, refused to hold a wake for the slain soldier because "the whites would not like it." Almost overnight, this act of discrimination became a defining moment in the rise of Mexican American activism. It launched Dr. Héctor P. García and his newly formed American G.I. Forum into the vanguard of the Mexican civil rights movement, while simultaneously endangering and advancing the career of Senator Lyndon B. Johnson, who arranged for Longoria's burial with full military honors in Arlington National Cemetery.
In this book, Patrick Carroll provides the first fully researched account of the Longoria controversy and its far-reaching consequences. Drawing on extensive documentary evidence and interviews with many key figures, including Dr. García and Mrs. Longoria, Carroll convincingly explains why the Longoria incident, though less severe than other acts of discrimination against Mexican Americans, ignited the activism of a whole range of interest groups from Argentina to Minneapolis. By putting Longoria's wake in a national and international context, he also clarifies why it became such a flash point for conflicting understandings of bereavement, nationalism, reason, and emotion between two powerful cultures—Mexicanidad and Americanism.
This collection of essays and poems about the influence of jazz on writing and culture in this country, an expanded edition of the 1986 publication, is a rewarding volume for all those entranced by jazz. Carruth brings his considerable poetic and literary sensibilities to bear on a topic very near to his heart: "Those who are devoted primarily to jazz, to poetry, to all the arts, are also those who contribute more intelligently than others to our practical and moral, political and social, advancement."
In Suicides and Jazzers, Hayden Carruth reveals as never before the hard experiences that have shaped his life and art. In the lead essay, entitled "Suicide," he speaks of the psychiatric illness he has lived with for most of his life and his attempted suicide in 1988. In "Fragments of Autobiography," he shares memories of a Connecticut childhood, early ruminations about death, and his coming-of-age in small-town America.
A major essay on the poetry of Paul Goodman is followed by shorter essays on Wallace Stevens, Emily Dickinson, Donald Hall, and Carolyn Kizer. In sections entitled "Elegies," "Reviews," and "Musical" Carruth celebrates fine writers and musicians who he feels have been intentionally neglected by the establishment, including authors Grace Paley and David Ignatow, tenor saxophonist Ben Webster, and, in "The Spun-Off Independent Dead-End Ten-Star Blast," white jazz musicians.
Waged for a just cause and culminating in total victory, World War II was America’s “good war.” Yet for millions of GIs overseas, the war did not end with Germany and Japan’s surrender. The Good Occupation chronicles America’s transition from wartime combatant to postwar occupier, by exploring the intimate thoughts and feelings of the ordinary servicemen and women who participated—often reluctantly—in the difficult project of rebuilding nations they had so recently worked to destroy.
When the war ended, most of the seven million Americans in uniform longed to return to civilian life. Yet many remained on active duty, becoming the “after-army” tasked with bringing order and justice to societies ravaged by war. Susan Carruthers shows how American soldiers struggled to deal with unprecedented catastrophe among millions of displaced refugees and concentration camp survivors while negotiating the inevitable tensions that arose between victors and the defeated enemy. Drawing on thousands of unpublished letters, diaries, and memoirs, she reveals the stories service personnel told themselves and their loved ones back home in order to make sense of their disorienting and challenging postwar mission.
The picture Carruthers paints is not the one most Americans recognize today. A venture undertaken by soldiers with little appetite for the task has crystallized, in the retelling, into the “good occupation” of national mythology: emblematic of the United States’ role as a bearer of democracy, progress, and prosperity. In real time, however, “winning the peace” proved a perilous business, fraught with temptation and hazard.
“i used to love to dream” is a mixtap/e/ssay that performs hip-hop scholarship using sampled and live instrumentation; repurposed music, film, and news clips; and original rap lyrics. As a genre, the mixtap/e/ssay brings together the mixtape—a self-produced or independently released album issued free of charge to gain publicity—and the personal and scholarly essays. “i used to love to dream” names Decatur, Illinois—the author's hometown—as a reference point for place- and time-specific rapped ruminations about the ideas of growing up, moving away, and pondering one's life choices. At the same time, the tracks attempt to account for moral, philosophical, and ethical dimensions undergirding unease about authenticity, or staying true to oneself and to one’s city or neighborhood, as well as the external factors that contribute to such feelings. Using the local to ask questions about the global, “i used to love to dream” highlights outlooks on Black life generally, and Black manhood in particular, in the United States.
The tracks are presented along with liner notes and a short documentary about the making of the mixtap/e/ssay, and accompanying articles to provide context for the tracks for listeners both in classrooms and outside of them.
With its radical ideology and effective tactics, the Student Nonviolent Coordinating Committee (SNCC) was the cutting edge of the civil rights movement during the 1960s. This sympathetic yet evenhanded book records for the first time the complete story of SNCC’s evolution, of its successes and its difficulties in the ongoing struggle to end white oppression.
At its birth, SNCC was composed of black college students who shared an ideology of moral radicalism. This ideology, with its emphasis on nonviolence, challenged Southern segregation. SNCC students were the earliest civil rights fighters of the Second Reconstruction. They conducted sit-ins at lunch counters, spearheaded the freedom rides, and organized voter registration, which shook white complacency and awakened black political consciousness. In the process, Clayborne Carson shows, SNCC changed from a group that endorsed white middle-class values to one that questioned the basic assumptions of liberal ideology and raised the fist for black power. Indeed, SNCC’s radical and penetrating analysis of the American power structure reached beyond the black community to help spark wider social protests of the 1960s, such as the anti–Vietnam War movement.
Carson’s history of SNCC goes behind the scene to determine why the group’s ideological evolution was accompanied by bitter power struggles within the organization. Using interviews, transcripts of meetings, unpublished position papers, and recently released FBI documents, he reveals how a radical group is subject to enormous, often divisive pressures as it fights the difficult battle for social change.
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