A SCHOLARLY BOOK REPOSITORY
Imagine being unable to return to your homeland for thirty-six years. What would you do if you finally got a chance to go back?
In 1996, after travel restrictions between the United States and Cuba were relaxed, Cuban exile Tony Mendoza answered that question. Taking his cameras, notebooks, and an unquenchable curiosity, he returned for his first visit to Cuba since summer of 1960, when he emigrated with his family at age eighteen. In this book he presents over eighty evocative photographs accompanied by a beautifully written text that mingles the voices of many Cubans with his own to offer a compelling portrait of a resilient people awaiting the inevitable passing of the socialist system that has failed them.
His photographs and interviews bear striking witness to the hardships and inequalities that exist in this workers' "paradise," where the daily struggle to make ends meet on an average income of eight dollars a month has created a longing for change even in formerly ardent revolutionaries. At the same time, Cuba—Going Back is an eloquent record of a personal journey back in time and memory that will resonate with viewers and readers both within and beyond the Cuban American community. It belongs on the shelves of anyone who values excellent photography and well-crafted prose.
As an island—a geographical space with mutable and porous borders—Cuba has never been a fixed cultural, political, or geographical entity. Migration and exile have always informed the Cuban experience, and loss and displacement have figured as central preoccupations among Cuban artists and intellectuals. A major expression of this experience is the unconventional, multi-generational, itinerant, and ongoing art exhibit CAFÉ: The Journeys of Cuban Artists. In Cuban Artists Across the Diaspora, Andrea O'Reilly Herrera focuses on the CAFÉ project to explore Cuba's long and turbulent history of movement and rupture from the perspective of its visual arts and to meditate upon the manner in which one reconstitutes and reinvents the self in the context of diaspora.
Approaching the Cafeteros' art from a cultural studies perspective, O'Reilly Herrera examines how the history of Cuba informs their work and establishes their connections to past generations of Cuban artists. In interviews with more than thirty artists, including José Bedia, María Brito, Leandro Soto, Glexis Novoa, Baruj Salinas, and Ana Albertina Delgado, O'Reilly Herrera also raises critical questions regarding the many and sometimes paradoxical ways diasporic subjects self-affiliate or situate themselves in the narratives of scattering and displacement. She demonstrates how the Cafeteros' artmaking involves a process of re-rooting, absorption, translation, and synthesis that simultaneously conserves a series of identifiable Cuban cultural elements while re-inscribing and transforming them in new contexts.
An important contribution to both diasporic and transnational studies and discussions of contemporary Cuban art, Cuban Artists Across the Diaspora ultimately testifies to the fact that a long tradition of Cuban art is indeed flourishing outside the island.
Founded as a white colony in 1819, Cienfuegos, Cuba, quickly became home to people of African descent, both free and enslaved, and later a small community of Chinese and other immigrants. Despite the racial, ethnic, and cultural diversity that defined the city’s population, the urban landscape was characterized by distinctive racial boundaries, separating the white city center from the heterogeneous peripheries. A Cuban City, Segregated: Race and Urbanization in the Nineteenth Century explores how the de facto racial segregation was constructed and perpetuated in a society devoid of explicitly racial laws.
Drawing on the insights of intersectional feminism, Bonnie A. Lucero shows that the key to understanding racial segregation in Cuba is recognizing the often unspoken ways specifically classed notions and practices of gender shaped the historical production of race and racial inequality. In the context of nineteenth-century Cienfuegos, gender, race, and class converged in the concept of urban order, a complex and historically contingent nexus of ideas about the appropriate and desired social hierarchy among urban residents, often embodied spatially in particular relationships to the urban landscape.
As Cienfuegos evolved subtly over time, the internal logic of urban order was driven by the construction and defense of a legible, developed, aesthetically pleasing, and, most importantly, white city center. Local authorities produced policies that reduced access to the city center along class and gendered lines, for example, by imposing expensive building codes on centric lands, criminalizing poor peoples’ leisure activities, regulating prostitution, and quashing organized labor. Although none of these policies mentioned race outright, this new scholarship demonstrates that the policies were instrumental in producing and perpetuating the geographic marginality and discursive erasure of people of color from the historic center of Cienfuegos during its first century of existence.
Ortiz presents his understanding of Cuban history in two complementary sections written in contrasting styles: a playful allegorical tale narrated as a counterpoint between tobacco and sugar and a historical analysis of their development as the central agricultural products of the Cuban economy. Treating tobacco and sugar both as agricultural commodities and as social characters in a historical process, he examines changes in their roles as the result of transculturation. His work shows how transculturation, a critical category Ortiz developed to grasp the complex transformation of cultures brought together in the crucible of colonial and imperial histories, can be used to illuminate not only the history of Cuba, but, more generally, that of America as well.
This new edition includes an introductory essay by Fernando Coronil that provides a contrapuntal reading of the relationship between Ortiz’s book and its original introduction by the renowned anthropologist Bronislaw Malinowski. Arguing for a distinction between theory production and canon formation, Coronil demonstrates the value of Ortiz’s book for anthropology as well as Cuban, Caribbean, and Latin American studies, and shows Ortiz to be newly relevant to contemporary debates about modernity, postmodernism, and postcoloniality.
For forty years the Cuban Revolution has been at the forefront of American public opinion, yet few are knowledgeable about the history of its enemies and the responsibility of the U.S. government in organizing and sustaining the Cuban counterrevolution. Available in English for the first time, this outstanding study by Cuban historian and former diplomat Jesús Arboleya traces the evolution of the counterrevolutionary movement from its beginnings before 1959, to its transformation into the Cuban-American groups that today dominate U.S. policy toward Cuba. Arboleya also analyzes the role played by Cuban immigrants to the U.S. and the perspectives for improvement in relations between the two nations as a result of the generational and social changes that have been occurring in the Cuban-American community.
After Fidel Castro came to power in 1959, his second declaration, after socialism, was that Cuba would become a leader in international science. In biotechnology he would be proven right and, today, Cuba counts a meningitis B vaccine and cutting-edge cancer therapies to its name. But how did this politically and geographically isolated country make such impressive advances? Drawing on a unique ethnography, and blending the insights of anthropology, sociology, and geography, The Cuban Cure shows how Cuba came to compete with U. S. pharmaceutical giants—despite a trade embargo and crippling national debt.
In uncovering what is distinct about Cuban biomedical science, S. M. Reid-Henry examines the forms of resistance that biotechnology research in Cuba presents to the globalization of western models of scientific culture and practice. He illustrates the epistemic, social, and ideological clashes that take place when two cultures of research meet, and how such interactions develop as political and economic circumstances change. Through a novel argument about the intersection of socioeconomic systems and the nature of innovation, The Cuban Cure presents an illuminating study of politics and science in the context of globalization.
The Cuban economy has been transformed over the course of the last decade, and these changes are now likely to accelerate. In this edited volume, prominent Cuban economists and sociologists present a clear analysis of Cuba’s economic and social circumstances and suggest steps for Cuba to reactivate economic growth and improve the welfare of its citizens. These authors focus first on trade, capital inflows, exchange rates, monetary and fiscal policy, and the agricultural sector. In a second section, a multidisciplinary team of sociologists and an economist map how reforms in economic and social policies have produced declines in the social standing of some specific groups and economic mobility for others.
A joint collaboration between scholars at Harvard University and in Cuba, this book includes the same editors and many of the same authors of The Cuban Economy at the Start of the Twenty-First Century (edited by Jorge I. Domínguez, Omar Everleny Pérez Villanueva, and Lorena G. Barberia), which is also part of the David Rockefeller Center series.
Cuba faced an economic meltdown of catastrophic proportions in the early 1990s when covert subsidies from the former Soviet Union disappeared. Policies instituted by the island republic's government to handle the worst problems have had inconsistent results.
Opening the economy to foreign enterprise has resulted in positive growth in tourism and nickel and cigar exports. However, remnants of the older economy, including the sugar and biotechnological industries, have only experienced a decrease in capital and importance. Basic educational and health services have been maintained surprisingly well, but the standard of living is still far below the highs of the 1980s. With contributions from many leading Cuba scholars, <I>The Cuban Economy</I> offers not only an analysis of the economy since 1990, but also a look towards future prospects.
How can Cuba address the challenges of economic development and transformation that have bedeviled so many Latin American and Eastern European countries? What are the universally common macroeconomic and societal challenges it faces and the specific peculiarities that have emerged after a decade-long transformation of its economy?
For the Cuban and American social scientists and policy experts writing in this timely and provocative volume, the answer lies in examining Cuba’s development trajectory by delving into issues ranging from the political economy of reform to their impact on specific sectors including export development, foreign direct investment, and U.S.–Cuba trade. Moreover, the volume also draws attention to the intersection between economic reform and societal dynamics by exploring changes in household consumption, socioeconomic mobility, as well as remittances and their effects, while remaining steadfast in its focus on their policy implications for Cuba’s future.
Cuba’s economy has grown hardly at all during Raúl Castro’s presidency (beginning in 2006), hit by the economic collapse of its Venezuelan partner and burdened by a legacy of decayed infrastructure, a bankrupt sugar industry, and stagnant agriculture.
The Cuban Economy in a New Era diagnoses the ills that afflict Cuba’s economy and examines possible economic policy changes in seven areas: macroeconomic policy, central planning, small and medium private enterprises, nonagricultural cooperatives, financing options for the new private sector, state enterprise management, and relations with international financial institutions. Cuban economists have contributed these seven chapters, and the combined import is further considered in introductory and concluding chapters. The book is the culmination of over a decade of scholarly collaboration with Harvard scholars, anchored in a series of workshops held over several years in Cambridge, Massachusetts, and Havana.
The United States and Cuba share a complex, fractious, interconnected history. Before 1959, the United States was the island nation's largest trading partner. But in swift reaction to Cuba's communist revolution, the United States severed all economic ties between the two nations, initiating the longest trade embargo in modern history, one that continues to the presentday. The Cuban Embargo examines the changing politics of U.S. policy toward Cuba over the more than four decades since the revolution.
While the U.S. embargo policy itself has remained relatively stable since its origins during the heart of the Cold War, the dynamics that produce and govern that policy have changed dramatically. Although originally dominated by the executive branch, the president's tight grip over policy has gradually ceded to the influence of interest groups, members of Congress, and specific electoral campaigns and goals. Haney and Vanderbush track the emergence of the powerful Cuban American National Foundation as an ally of the Reagan administration, and they explore the more recent development of an anti-embargo coalition within both civil society and Congress, even as the Helms-Burton Act and the George W. Bush administration have further tightened the embargo. Ultimately they demonstrate how the battles over Cuba policy, as with much U.S. foreign policy, have as much to do with who controls the policy as with the shape of that policy itself.
Half a century after viewers first watched a father and son walking to the local fishing hole, whistling a simple, yet unforgettable, tune, The Andy Griffith Show remains one of the most popular sitcoms in the history of American television. Tens of millions of viewers have seen the show either in its original run, its ongoing reruns, on DVD, or on the internet. Websites devoted to the show abound, hundreds of fan clubs bring enthusiasts together, and a plethora of books and Mayberry-themed merchandise have celebrated all things Mayberry. A small cottage industry has even developed around the teachings of the show’s episodes. But why does a sitcom from the 1960s set in the rural South still evoke such devotion in people today?
In A Cuban in Mayberry, acclaimed author Gustavo Pérez Firmat revisits America’s hometown to discover the source of its enduring appeal. He approaches the show from a unique perspective—that of an exile who has never experienced the rootedness that Andy and his fellow Mayberrians take for granted, as folks who have never strayed from home or lived among strangers. As Pérez Firmat weaves his personal recollections of exile from Cuba with an analysis of the show, he makes a convincing case that the intimacy between person and place depicted in TAGS is the secret of its lasting relevance, even as he reveals the surprising ways in which the series also reflects the racial, generational, and political turbulence of the 1960s.
For two centuries, Cuban exiles have found their way to the United States, especially to Florida. But since Castro's victory in 1959, Miami has seen almost one million Cubans arrive by sea and air. The impact on this area has been enormous. Miami---known as the "Exile Capital"---has a greater cultural affinity to Havana and the rest of Latin America than to Tallahassee, Florida's capital.
Cuban Miami is the first analytical, photographic record of Cuban migration to south Florida. Robert M. Levine and Moises Asis have interviewed members of every sector of the Cuban exile community, from the first pioneers to the mass waves in the early 1960s to those who arrived by raft during the late 1990s. In their wide-ranging investigation of Cuban-U.S. history, they touch upon all aspects of Cuban influence: politics, cuisine, music, assimilation, discrimination, and institution buildings. Miami has more Cuban food establishments than the nearby island does. The city has been fertile ground for germinating a unique synthesis of Cuban and Americans are the most prosperous immigrant group in the United States today, this success has come at a price---living in exile can exact a personal toll.
Cuban Miami is a feast for the eyes, including 180 photographs and original cartoons drawn for the book by Jose M. Varela, a well-known member of the Cuban-American community.
The life’s work of Cuban historian and musician Helio Orovio, Cuban Music from A to Z presents the people, genres, and history of Cuban music. Arranged alphabetically and cross-referenced, the entries span from Abakuá music and dance to Eddy Zervigón, a Cuban bandleader based in New York City. They reveal an extraordinary fusion of musical elements, evident in the unique blend of African and Spanish traditions of the son musical genre and in the integration of jazz and rumba in the timba style developed by bands like Afrocuba, Chucho Valdés’s Irakeke, José Luis Cortés’s ng La Banda, and the Buena Vista Social Club. Folk and classical music, little-known composers and international superstars, drums and string instruments, symphonies and theaters—it’s all here.
In Cuban Palimpsests, José Quiroga explores the sites, both physical and imaginative, where memory bears upon Cuba’s collective history in ways that illuminate this extended moment of uncertainty. Crossing geographical, political, and cultural borders, Quiroga moves with ease between Cuba, Miami, and New York. He traces generational shifts within the exile community, contrasts Havana’s cultural richness with its economic impoverishment, follows the cloak-and-dagger narratives of revolutionary and counterrevolutionary spy fiction and film, and documents the world’s ongoing fascination with Cuban culture.
From the nostalgic photographs of Walker Evans to the iconic stature of Fidel Castro, from the literary expressions of despair to the beat of Cuban musical rhythms, from the haunting legacy of artist Ana Mendieta to the death of Celia Cruz and the reburial of Che Guevara, Cuban Palimpsests memorializes the ruins of Cuba’s past and offers a powerful meditation on its enigmatic place within the new world order.
José Quiroga is professor and department chair of Spanish and Portuguese at Emory University. He is the author of Understanding Octavio Paz and Tropics of Desire: Interventions from Queer Latino America.
While most books and articles on Cuba seek to analyse the island’s socialist experiment from the perspective of internal dynamics or international relations, this book attempts to understand the revolutionary process as part of a counter-current against neoliberal globalisation.
Rather than presenting Cuba as a socialist survivor, whose performance must be measured against the standards set by the ‘international community’, George Lambie judges Cuban socialism on the goals which the revolution sets for itself. He shows that despite Cuba’s isolation in the ‘New World Order’, and the enormous pressures it has faced to ‘conform’, its faith in an alternative socialist project has continued and grown.
Now that neoliberalism is in crisis, Cuba’s promotion of socialist values is finding a renewed relevance. In this fascinating study Lambie argues that Cuba is again becoming a symbol, and practical example, of socialism in action. This book is essential reading for students of politics and Latin American studies.
Despite the significant presence of Cuban immigrants in the United States, current research on Cuban Spanish linguistics remains underexplored. This volume addresses this lacuna in Cuban Spanish research by providing a state-of-the-art collection of articles from a range of theoretical perspectives and linguistic areas, including phonological and phonetic variation, morphosyntactic approaches, sociolinguistic perspectives, and heritage language acquisition. Given increasing interest in Cuban Spanish among graduate students and faculty, this volume is a timely and highly relevant contribution to Hispanic linguistics and Cuban Spanish dialectology in particular.
Cuban Studies has been published annually by the University of Pittsburgh Press since 1985. Founded in 1970, it is the preeminent journal for scholarly work on Cuba. Each volume includes articles in both English and Spanish, a large book review section, and an exhaustive compilation of recent works in the field.
Widely praised for its interdisciplinary approach, and trenchant analysis of an array of topics, each volume features the best scholarship in the humanities and social sciences. Cuban Studies 36 includes articles on economics, politics, racial and gender issues, and the exodus of Cuban Jewry in the early 1960s, among others. Contributing authors are: Kenya C. Dworkin y Méndez, Beatriz Calvo Peña, Mary Speck, Luz Mena, Gema R. Guevara and Dana Evan Kaplan.
Cuban Studies has been published annually by the University of Pittsburgh Press since 1985. Founded in 1970, it is the preeminent journal for scholarly work on Cuba. Each volume includes articles in both English and Spanish, a large book review section, and an exhaustive compilation of recent works in the field.
Widely praised for its interdisciplinary approach and trenchant analysis of an array of topics, each volume features the best scholarship in the humanities and social sciences. Cuban Studies 37 includes articles on environmental law, economics, African influence in music, irreverent humor in postrevolutionary fiction, international education flow between the United States and Cuba, and poetry, among others.
Cuban Studies has been published annually by the University of Pittsburgh Press since 1985. Founded in 1970, it is the preeminent journal for scholarly work on Cuba. Each volume includes articles in both English and Spanish, a large book review section, and an exhaustive compilation of recent works in the field.
Widely praised for its interdisciplinary approach and trenchant analysis of an array of topics, each volume features the best scholarship in the humanities and social sciences. Cuban Studies 38 includes essays on the politics of liberation, including: the competing strands of liberalism emanating from Havana in the early nineteenth century; Jose Martí's theory of psychocoloniality; and the relationship between sugar planters, insurgents, and the Spanish military during the revolution. This volume also reflects on cultural themes, such as the new aesthetics of the everyday in Cuban cinema, the “recovery” of poet José Angel Buesa, and the meaning of Elián Gonzales in the context of life in Miami.
Cuban Studies 39 includes essays on: the recent transformation of the Cuban film animation industry and its continuing cultural impact; the influence of the liberal agenda of Justo Rufino Barrios on Jose Martí; a profile of the music of the Special Period and its social commentary; an in-depth examination of the contents, important themes, and enormous research potential of the Miscelánea de Expedientes collection at the Cuban National Archive; and a realistic assessment on the political future of Cuba.
Beginning with volume 34 (2003), the publication is available electronically through Project MUSE®. More information can be found at http://muse.jhu.edu/publishers/pitt_press/.
Cuban Studies 40 features a broad spectrum of articles, including essays on: the role of race in the revolution of 1933; the subject of disaster in eighteenth-century Cuban poetry; developments in Cuban historiography over the past fifty years; a profile of the work of historian José Vega Suñol; and a remembrance of essayist and literary critic Nara Araújo, who also contributed an article on travel in Cuba for this volume.
Beginning with Cuban Studies 34 (2003), the publication is available electronically through Project MUSE®. More information can be found at http://muse.jhu.edu/publishers/pitt_press/.
Cuban Studies 41 presents topics from across the cultural and political spectrum, including essays on: the ideology behind United States foreign policy toward Cuba; a gendered study of Cubans who migrate to other countries; Cuban social policy on inequality; fifty years of Cuban medical diplomacy; the fifty-year relationship between Havana and Moscow; film posters from ICAIC (Cuban Institute for Cinematographic Arts) that promoted the exhibition of Cuban and foreign films for the first time, created a new graphic movement, and transformed the look of Cuban cities and buildings; national cultural policy and the visual arts in the aftermath of the “Grey Years;” and a look at the global influence of Havana cigars.
Cuban Studies is the preeminent journal for scholarly work on Cuba. Each volume includes articles in English and Spanish and a large book review section. Cuban Studies has been published annually by the University of Pittsburgh Press beginning with volume 16 in 1985.
Cuban Studies 42 focuses on gender and equality issues in post-1959 Cuba, and their impact on cultural and institutional change. It views subjects such as politics, labor, food and diet, race, ethnicity, HIV/AIDS, sex education, tourism and prostitution, masculinity, and feminism, among others.
Beginning with Cuban Studies 34, the publication is available electronically through Project MUSE®. More information can be found at http://muse.jhu.edu/publishers/pitt_press/.
In addition to papers in history, culture and politics, this volume contains a central dossier on demography. This dossier charts some of the important changes experienced by the Cuban population—a concept that of course includes those living abroad—and some of the challenges posed by those changes (such as aging, or the changing composition of the expatriate community). A paper in the dossier looks carefully at infant mortality figures and raises poignant questions concerning methodologies and results.
Cuban Studies 44 features a dossier on the Cuban economy that covers economic problems and causation since 2010 and their possible remedy; tax reform from 2010 to 2014; the reconfiguration of social and economic actors since 2011 and the prospects of a market economy; the functioning of state-owned companies within current restructuring policies; and changes in Cuba’s trade deficit since 2009. Other topics include the consequences of the “Special Period” and the de/reconstruction of the “New Socialist Man”; public health care policies in the post-Soviet era; the Wallace Stevens poem “Academic Discourse at Havana”; U.S. General Fitzhugh Lee’s role in Cuban independence; José Martí’s death as a myth of the Cuban nation-building project; “Operation Pedro Pan” and the framing of childhood memories in the Cuban American community; and the social and political control of nonconformists in 1960s Cuba.
Cuban Studies 45 features two special dossiers: the first discusses the history and workings of the Cuban constitution and the need to revisit it along with civil and political rights; the second offers new perspectives on the history of health, medicine, and disease in Cuba, and views race as a factor in both infant mortality and tuberculosis from the early-to-mid twentieth century.
Additional essays discuss culture through poetry, higher education reform, the narratives of Lordes Casal, and filmmaker Jesús Díaz as an ‘unintentional deviationist.’ History is discussed vis-a-vis the radio politics of young Eddy Chibás, the slave abolitionist rhetoric of the Countess of Merlin, and the creole appropriation of Afro-Cuban dance and music to create sabor during the late nineteenth century.
Cuban Studies 46 includes a critical dossier on poet Lourdes Casal, with individual essays viewing the issues of race, feminism, and diaspora in her work. Additional essays address voices of economic change from the nonstate sector; cinema and church during the Special Period; and race, identity, and Cuban women’s activism in historic and cultural contexts.
Cuban Studies 49 includes dossiers on gender and feminism, economy, and history of education.
Cuban Studies 50 includes dossiers on new challenges in the private sector and communities of digital media sharing, along with reviews of nearly twenty new books.
After providing background information on Cuba's prerevolutionary economy, Brunner explores the effects of Communist ideology and the U.S. embargo on the country's resources and trade, and analyzes the problems Cuba faced in shifting from trade with the U.S. to trade with the Soviet Union and Soviet bloc. He evaluates their implementation of the development plan, assessing the sugar industry within Cuba as well as how its accelerated development affected the rest of the domestic economy.
Honorable Mention, Barbara T. Christian Literary Award, Caribbean Studies Association, 2017
In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge.
Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution” was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.
Drawing on extensive fieldwork in Havana's secondary schools, Cuban Youth and Revolutionary Values is a remarkable ethnography, charting the government's attempts to transform a future generation of citizens. While Cuba's high literacy rate is often lauded, the little-known dropout rates among teenagers receive less scrutiny. In vivid, succinct reporting, educational anthropologist Denise Blum now shares her findings regarding this overlooked aspect of the Castro legacy.
Despite the fact that primary-school enrollment rates exceed those of the United States, the reverse is true for the crucial years between elementary school and college. After providing a history of Fidel Castro's educational revolution begun in 1953, Denise Blum delivers a close examination of the effects of the program, which was designed to produce a society motivated by benevolence rather than materialism. Exploring pioneering pedagogy, the notion of civic education, and the rural components of the program, Cuban Youth and Revolutionary Values brims with surprising findings about one of the most intriguing social experiments in recent history.
As a result of the conflicts between Cuba and the United States, especially after 1959, Cubans immigrated in great numbers. Most stayed in Miami, but many headed north to Union City, making it second only to Miami in its concentration of Cubans. In The Cubans of Union City, Yolanda Prieto discusses why Cubans were drawn to this particular city and how the local economy and organizations developed. Central aspects of this story are the roles of women, religion, political culture, and the fact of exile itself.
As a member of this community and a participant in many of its activities, Prieto speaks with special authority about its demographic uniqueness. Far from being a snapshot of the community, The Cubans of Union City conveys an ongoing research agenda extending over more than twenty years, from 1959 to the 1980s. As a long-term observer who was also a resident, Prieto offers a unique and insightful view of the dynamics of this community’s evolution.
On January 2, 1959, Fidel Castro, the rebel comandante who had just overthrown Cuban dictator Fulgencio Batista, addressed a crowd of jubilant supporters. Recalling the failed popular uprisings of past decades, Castro assured them that this time “the real Revolution” had arrived. As Jonathan Brown shows in this capacious history of the Cuban Revolution, Castro’s words proved prophetic not only for his countrymen but for Latin America and the wider world.
Cuba’s Revolutionary World examines in forensic detail how the turmoil that rocked a small Caribbean nation in the 1950s became one of the twentieth century’s most transformative events. Initially, Castro’s revolution augured well for democratic reform movements gaining traction in Latin America. But what had begun promisingly veered off course as Castro took a heavy hand in efforts to centralize Cuba’s economy and stamp out private enterprise. Embracing the Soviet Union as an ally, Castro and his lieutenant Che Guevara sought to export the socialist revolution abroad through armed insurrection.
Castro’s provocations inspired intense opposition. Cuban anticommunists who had fled to Miami found a patron in the CIA, which actively supported their efforts to topple Castro’s regime. The unrest fomented by Cuban-trained leftist guerrillas lent support to Latin America’s military castes, who promised to restore stability. Brazil was the first to succumb to a coup in 1964; a decade later, military juntas governed most Latin American states. Thus did a revolution that had seemed to signal the death knell of dictatorship in Latin America bring about its tragic opposite.
With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist’s sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional—a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist’s surrealist and realist phases and contains many elements of Giacometti’s aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait—or what Didi-Huberman terms “abstract anthropomorphism.” Drawing on Freud, Bataille, Leiris, and others Giacometti counted as influence, Didi-Huberman presents fans and collectors of Giacometti’s art with a new approach to transitional work.
This definitive anthology covers the historical genesis of cubism from 1906 to 1914, with documents that range from manifestos and poetry to exhibition prefaces and reviews to articles that address the cultural, political, and philosophical issues related to the movement. Most of the texts Mark Antliff and Patricia Leighten have selected are from French sources, but their inclusion of carefully culled German, English, Czech, Italian, and Spanish documents speaks to the international reach of cubist art and ideas. Equally wide-ranging are the writers represented—a group that includes Guillaume Apollinaire, Gertrude Stein, Jean Metzinger, Albert Gleizes, Fernand Léger, Francis Picabia, André Salmon, Raymond Duchamp-Villon, Henri Le Fauconnier, and many others.
These diverse selections—unabridged and freshly translated—represent a departure from the traditional view of cubism as shaped almost exclusively by Picasso and Braque. Augmented by Antliff and Leighten’s insightful commentary on each entry, as well as many of the articles’ original illustrations, A Cubism Reader ultimately broadens the established history of the movement by examining its monumental contributions from a variety of contemporary perspectives.
Cubs fans have often focused on one or two star performers, to the detriment of the team's overall performance.
Stars have often been selfish and devoted to their own success. Leaders have toleratged them, often at a price
to the whole team. Effective leadership recognizes the dangers in this situation. Here's their antidote--in a
highly-readable book that's hot off the press! Foreword by bestselling-author Ken Blanchard.
W. Y. Evans–Wentz, great Buddhist scholar and translator of such now familiar works as the Tibetan Book of the Dead and the Tibetan Book of the Great Liberation, spent his final years in California. There, in the shadow of Cuchama, one of the Earth’s holiest mountains, he began to explore the astonishing parallels between the spiritual teaching of America’s native peoples and that of the deeply mystical Hindus and Tibetans. Cuchama and Sacred Mountains, a book completed shortly before his death in 1965, is the fruit of those explorations.
To Cuchama, “Exalted High Place,” came the young Cochimi and Yuma boys for initiation into the mystic rites for their people. In solitude they sought and received guidance and wisdom. In this same way, the peoples of ancient Greece, the Hebrews, the early Christians, and the Hindus had found access to inner truth on their own holy mountains: and in this same way must the modern person find the path to inner knowing.
Surveying many of the most Sacred Mountains in North America, South America, Europe, and Asia, Evans–Wentz expresses the belief that the secret power of these high places has not passed away but only awaits the coming of a New Age. This new age, in accord with the oldest prophecies of our continent, will be a time of renaissance, the long–waited era of harmony and peace among all peoples.
This renaissance shall be uniquely American, a renewal based on the values so long honored by the Americans before Columbus, and so ruthlessly trampled by the “civilized” Europeans who overran them. No other race of people has been as spiritual in their way of life than the original Americans, notes Evans–Wentz. Perhaps none other has known such martyrdom. Yet the secret greatness of the Indian religion still lives, ancient as the Earth itself, yet ageless in its power to renew.
The cuckoo is peculiar for inspiring such divergent ideas: a symbol of foolishness to both Aristophanes and Cocoa Puffs, a reliable harbinger of spring and the hours of a cuckoo clock, and the source of innumerable innuendos inspired by a habit of laying eggs in others’ nests. In this short, entertaining book, Cynthia Chris explores both the natural and cultural history of the cuckoo as well as the many stories told throughout the centuries about this fascinating bird.
Having set aside age-old ways of mourning, how do people in the modern world cope with tragic loss? Using traditional mourning rituals as an instructive touchstone, Gail Holst-Warhaft explores the ways sorrow is managed in our own times and how mourning can be manipulated for social and political ends.
Since ancient times political and religious authorities have been alert to the dangerously powerful effects of communal expressions of grief--while valuing mourning rites as a controlled outlet for emotion. But today grief is often seen as a psychological problem: the bereaved are encouraged to seek counseling or take antidepressants. At the same time, we have witnessed some striking examples of manipulation of shared grief for political effect. One instance is the unprecedented concentration on recovery of the remains of Americans killed in the Vietnam War. In Buenos Aires the Mothers of the Disappeared forged the passion of their grief into a political weapon. Similarly the gay community in the United States, transformed by grief and rage, not only lobbied effectively for AIDS victims but channeled their emotions into fresh artistic expression.
It might be argued that, in contrast to earlier cultures, modern society has largely abdicated its role in managing sorrow. But in The Cue for Passion we see that some communities, moved by the intensity of their grief, have utilized it to gain ground for their own agendas.
In this collection of poetry by Carl Marcum, a young man traces his rise to consciousness, his coming of age in the Southwest as a medio, an individual of mixed race. Displaying his Hispanic heritage as fact, emblem, and music in his poems, Marcum balances hip humor with larger themes of loss and reinvention to paint a work of seriousness and imagination, wrestling sense from the giddy rush of experience. The lead poem, "Cue Lazarus," conveys the sense of loss that permeates the collection, revisiting time the author spent with a friend he now knows will die. It sets the tone for the explorations to follow as the poet haunts his past: death, traumatic experience, the uneasiness that comes from being unable to forestall tragedy, all combine to create a sense of paradox, that he who endures becomes a ghost compelled to haunt his own life.
As poetry becomes a subtle game of language, experience is refigured as an array of possibilities; Marcum finds meaning and epiphany through close observation as he revels in images of constant motion and sustained search. Here is a suite in celebration of Chevys ("That Camaro ran nearly on machismo alone") and a prayer for breakfast ("I'd like to renounce the salt and pepper shakers / of this life. But the eggs are here / twelve lines into this poem / and getting cold"). He dreams of himself as Pancho Villa, "my poetry at the end of a pistol," and invokes the spirits of poets past, "beggars on the media of Limbo, holding shabby signs: WILL WORK FOR TRUTH."
Ultimately, Cue Lazarus is about resurrection—of the spirit, of a life, of an identity. It marks the emergence of a vital new voice that, in baring his soul, reveals lessons as old as time.
Across seven semi-autonomous essays, Cue Tears looks at the mechanisms of tear production, internal and external techniques that actors use to weep, and the effects of tears in performance situations on the stage, in the gallery, and in the classroom. The writing moves with a light touch between theory and criticism of a broad range of instances from literature, theater, performance art, visual art, and cinema, while also embracing a strong autobiographical and personal slant. Author Daniel Sack’s father was a biochemist who studied tears and collected his son’s tears for research during his childhood. These “reflex tears” were produced as a physical response to irritation—an eye stretched past the point of blinking, a cotton swab up the nose. This childhood occupation coincided with his first years taking acting classes, trying to learn how to cry “emotional tears” onstage through psychological stimulation and the recollection of memory. Cue Tears investigates these memories and methods, finding that tears both shore up and dissolve distinctions between truth and artifice, emotional and physical, private and public, sad and humorous.
The fundamental myth is that of Prometheus, who introduced sacrifice and, in the process, both joined us to and separated us from the gods—and ambiguous relation that recurs in marriage and in the growing of grain. Thus we can understand why the ascetic man refuses both women and meat, and why Greek women celebrated the festival of grain-giving Demeter with instruments of butchery.
The ambiguity coded in the consumption of meat generated a mythology of the "other"—werewolves, Scythians, Ethiopians, and other "monsters." The study of the sacrificial consumption of meat thus leads into exotic territory and to unexpected findings.
In The Cuisine of Sacrifice, the contributors—all scholars affiliated with the Center for Comparative Studies of Ancient Societies in Paris—apply methods from structural anthropology, comparative religion, and philology to a diversity of topics: the relation of political power to sacrificial practice; the Promethean myth as the foundation story of sacrificial practice; representations of sacrifice found on Greek vases; the technique and anatomy of sacrifice; the interaction of image, language, and ritual; the position of women in sacrificial custom and the female ritual of the Thesmophoria; the mythical status of wolves in Greece and their relation to the sacrifice of domesticated animals; the role and significance of food-related ritual in Homer and Hesiod; ancient Greek perceptions of Scythian sacrificial rites; and remnants of sacrificial ritual in modern Greek practices.
People from around the world have found a home in Texas, bringing with them a multiethnic feast replete with dishes that originated in Mexico, Europe, Africa, the Middle East, and Asia. In these pages you'll discover a magical place called Cuisine, Texas, where you can find all these favorite family recipes in one handy source.
Noted food writer Joanne Smith spent several years gathering the traditional recipes of every major ethnic group in Texas. As a result, Cuisine, Texas is a virtual encyclopedia of Texas cooking, with more than 375 recipes drawn from Native American, Spanish, Japanese, French, Cajun, Mexican, Tex-Mex, Anglo-American, African American, Thai, Czech, Swiss, Dutch, Jewish, Greek, German, Polish, Italian, British, Lebanese, Chinese, Russian, Vietnamese, and Scandinavian cooking.
The recipes cover the full range of foods, from appetizers to entrees, salads, vegetables, breads, and desserts, and all have clear, simple-to-follow instructions. Interspersed among them are engaging discussions of the different ethnic cuisines, flavored with delightful stories of some of the cooks who created or perfected the recipes. And to make your cooking even easier, Joanne Smith includes information on how to readily find imported and specialized ingredients and a word about health-conscious substitutions.
Cuisine, Texas, may not exist on the map, but it can be found everywhere that people enjoy good food and the fellowship that goes with it. Let this book be your one-stop source for all the tastes of Texas.
Focusing on correspondence between the Ferronnayses and their plantation managers, Cul de Sac proposes that the Caribbean plantation system, with its reliance on factory-like production processes and highly integrated markets, was a particularly modern expression of eighteenth-century capitalism. But it rested on a foundation of economic and political traditionalism that stymied growth and adaptation. The result was a system heading toward collapse as planters, facing a series of larger crises in the French empire, vainly attempted to rein in the inherent violence and instability of the slave society they had built. In recovering the lost world of the French Antillean plantation, Cul de Sac ultimately reveals how the capitalism of the plantation complex persisted not as a dynamic source of progress, but from the inertia of a degenerate system headed down an economic and ideological dead end.
This fascinating culinarian is John Dabney (1821–1900), who was born a slave, but later built an enterprising catering business. Dabney is just one of 175 influential cooks and restaurateurs profiled by David S. Shields in The Culinarians, a beautifully produced encyclopedic history of the rise of professional cooking in America from the early republic to Prohibition.
Shields’s concise biographies include the legendary Julien, founder in 1793 of America’s first restaurant, Boston’s Restorator; and Louis Diat and Oscar of the Waldorf, the men most responsible for keeping the ideal of fine dining alive between the World Wars. Though many of the gastronomic pioneers gathered here are less well known, their diverse influence on American dining should not be overlooked—plus, their stories are truly entertaining. We meet an African American oyster dealer who became the Congressional caterer, and, thus, a powerful broker of political patronage; a French chef who was a culinary savant of vegetables and drove the rise of California cuisine in the 1870s; and a rotund Philadelphia confectioner who prevailed in a culinary contest with a rival in New York by staging what many believed to be the greatest American meal of the nineteenth century. He later grew wealthy selling ice cream to the masses. Shields also introduces us to a French chef who brought haute cuisine to wealthy prospectors and a black restaurateur who hosted a reconciliation dinner for black and white citizens at the close of the Civil War in Charleston.
Altogether, Culinarians is a delightful compendium of charcuterie-makers, pastry-pipers, caterers, railroad chefs, and cooking school matrons—not to mention drunks, temperance converts, and gangsters—who all had a hand in creating the first age of American fine dining and its legacy of conviviality and innovation that continues today.
In The Culinary Crescent: A History of Middle Eastern Cuisine, Peter Heine combines years of scholarship with a personal passion: his knowledge of the cookery traditions of the Umayyad, Abbasid, Ottoman, Safavid, and Mughal courts is matched only by his love for the tastes and smells produced by the contemporary cooking of these areas today. In addition to offering a fascinating history, Heine presents more than one hundred recipes—from the modest to the extravagant—with dishes ranging from those created by the “celebrity chefs” of the bygone Mughal era, up to gastronomically complex presentations of modern times.
Beautifully produced, designed for both reading and cooking, and lavishly illustrated in color throughout, The Culinary Crescent is sure to provide a delectable window in the history of food in the Middle East.
For South Asians, food regularly plays a role in how issues of race, class, gender, ethnicity, and national identity are imagined as well as how notions of belonging are affirmed or resisted. Culinary Fictions provides food for thought as it considers the metaphors literature, film, and TV shows use to describe Indians abroad. When an immigrant mother in Jhumpa Lahiri’s The Namesake combines Rice Krispies, Planters peanuts, onions, salt, lemon juice, and green chili peppers to create a dish similar to one found on Calcutta sidewalks, it evokes not only the character’s Americanization, but also her nostalgia for India.
Food, Anita Mannur writes, is a central part of the cultural imagination of diasporic populations, and Culinary Fictions maps how it figures in various expressive forms. Mannur examines the cultural production from the Anglo-American reaches of the South Asian diaspora. Using texts from novels—Chitra Divakaruni’s Mistress of Spices and Shani Mootoo’s Cereus Blooms at Night—and cookbooks such as Madhur Jaffrey’s Invitation to Indian Cooking and Padma Lakshmi’s Easy Exotic, she illustrates how national identities are consolidated in culinary terms.
Cassarino takes the reader through the changing dynamics of food production and consumption, from wartime sensibilities of patriotic eating to the postwar excess of culinary cosmopolitanism and finally to contemporary supermarket pastorals. She pairs chefs and poets—Julia Child and Gertrude Stein, Poppy Cannon and Frank O’Hara, Vertamae Smart-Grosvenor and Harryette Mullen—to argue that each converts eating into an aesthetic opportunity that has the power to impact how people consume. In this way, Cassarino reveals the modern cookbook not just as a literary counterpart to contemporary poetry but also as vital to the literature and art occurring around it. From Futurist cookbooks to fast food lyrics, from Gullah recipes to Eat Art, she reminds us that global foodscapes are connected to aesthetic movements in literature and art.
Culling the Masses questions the widely held view that in the long run democracy and racism cannot coexist. David Scott FitzGerald and David Cook-Martín show that democracies were the first countries in the Americas to select immigrants by race, and undemocratic states the first to outlaw discrimination. Through analysis of legal records from twenty-two countries between 1790 and 2010, the authors present a history of the rise and fall of racial selection in the Western Hemisphere.
The United States led the way in using legal means to exclude “inferior” ethnic groups. Starting in 1790, Congress began passing nationality and immigration laws that prevented Africans and Asians from becoming citizens, on the grounds that they were inherently incapable of self-government. Similar policies were soon adopted by the self-governing colonies and dominions of the British Empire, eventually spreading across Latin America as well.
Undemocratic regimes in Chile, Uruguay, Paraguay, and Cuba reversed their discriminatory laws in the 1930s and 1940s, decades ahead of the United States and Canada. The conventional claim that racism and democracy are antithetical—because democracy depends on ideals of equality and fairness, which are incompatible with the notion of racial inferiority—cannot explain why liberal democracies were leaders in promoting racist policies and laggards in eliminating them. Ultimately, the authors argue, the changed racial geopolitics of World War II and the Cold War was necessary to convince North American countries to reform their immigration and citizenship laws.
Heidegger claimed that Western philosophy ended—failed, even—in the German Idealist tradition. In The Culmination, Robert B. Pippin explores the ramifications of this charge through a masterful survey of Western philosophy, especially Heidegger’s critiques of Hegel and Kant. Pippin argues that Heidegger’s basic concern was to determine sources of meaning for human life, particularly those that had been obscured by Western philosophy’s attention to reason. The Culmination offers a new interpretation of Heidegger, German Idealism, and the fate of Western rationalism.
UFOs and aliens, unexplained mysteries, religious cults, diffusion, creationism. We are all familiar with beliefs about human life that lie outside traditional scientific boundaries. Notions such as these are considered reasonable by vast numbers of us in the Western world, in our modern “technological” and “educated” cultures.
Understanding why this should be so and how we as a society might deal with these widespread pseudoscientific beliefs are the subjects at the heart of this study. The authors—specialists in anthropology, archaeology, sociology, psychology, and history—explore creationism, which claims that there is evidence to support a literal interpretation of the origins of the world and of humanity as narrated in the Book of Genesis, and cult archaeology, which encompasses a wide range of fantastic beliefs about our past.
Cult Archaeology and Creationism contains several essays on the history of pseudoscientific beliefs and their current manifestations as well as the results of a unique research project in which students at five campuses across the country were asked about their beliefs and about such background factors as their school experience and religious faith. This expanded edition also includes two new essays, one on Afrocentrism and another that views cult archaeology and creationism in the 1990s and beyond.
"Play it again, Sam" is the motto of cult film enthusiasts, who will watch their favorite movie over and over, "beyond all reason." What is the appeal of cult movies? Why do fans turn up in droves at midnight movies or sit through the same three-hanky classics from Hollywood's golden era? These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film.
The book identifies two basic types of cult films—older Hollywood movies, such as Casablanca, that have developed a cult following and "midnight movies," most notably The Rocky Horror Picture Show. Telotte, Bruce Kawin, and Timothy Corrigan offer thought-provoking discussions about why these two types of movies become cult films, the sort of audience they attract, and the needs they fulfill for that audience. Subsequent essays employ a variety of cultural, feminist, ideological, and poststructural strategies for exploring these films.
In a section on the classical cult film, the movie Casablanca receives extensive treatment. An essay by T. J. Ross considers Beat the Devil as a send-up of cult films, while another essay by Wade Jennings analyzes the cult star phenomenon as personified in Judy Garland.
"Midnight movie madness" is explored in essays on The Rocky Horror Picture Show, movie satires of the 1950s, science fiction double features, and horror thrillers.
Illustrated with scenes from favorite movies and written for both fans and scholars, The Cult Film Experience will appeal to a wider audience than the "usual suspects."
Creativity is one of American society’s signature values, but the idea that there is such a thing as “creativity”—and that it can be cultivated—is surprisingly recent, entering our everyday speech in the 1950s. As Samuel W. Franklin reveals, postwar Americans created creativity, through campaigns to define and harness the power of the individual to meet the demands of American capitalism and life under the Cold War. Creativity was championed by a cluster of professionals—psychologists, engineers, and advertising people—as a cure for the conformity and alienation they feared was stifling American ingenuity. It was touted as a force of individualism and the human spirit, a new middle-class aspiration that suited the needs of corporate America and the spirit of anticommunism.
Amid increasingly rigid systems, creativity took on an air of romance; it was a more democratic quality than genius, but more rarified than mere intelligence. The term eluded clear definition, allowing all sorts of people and institutions to claim it as a solution to their problems, from corporate dullness to urban decline. Today, when creativity is constantly sought after, quantified, and maximized, Franklin’s eye-opening history of the concept helps us to see what it really is, and whom it really serves.
Hau argues that the obsession with personal health and fitness was often rooted in anxieties over professional and economic success, as well as fears that modern industrialized civilization was causing Germany and its people to degenerate. He also examines how different social groups gave different meanings to the same hygienic practices and aesthetic ideals. What results is a penetrating look at class formation in pre-Nazi Germany that will interest historians of Europe and medicine and scholars of culture and gender.
Exploring how this rather benign relationship with psychoactive drugs was transformed into one of confusion and chaos, The Cult of Pharmacology tells the dramatic story of how, as one legal drug after another fell from grace, new pharmaceutical substances took their place. Whether Valium or OxyContin at the pharmacy, cocaine or meth purchased on the street, or alcohol and tobacco from the corner store, drugs and drug use proliferated in twentieth-century America despite an escalating war on “drugs.”
Richard DeGrandpre, a past fellow of the National Institute on Drug Abuse and author of the best-selling book Ritalin Nation, delivers a remarkably original interpretation of drugs by examining the seductive but ill-fated belief that they are chemically predestined to be either good or evil. He argues that the determination to treat the medically sanctioned use of drugs such as Miltown or Seconal separately from the illicit use of substances like heroin or ecstasy has blinded America to how drugs are transformed by the manner in which a culture deals with them.
Bringing forth a wealth of scientific research showing the powerful influence of social and psychological factors on how the brain is affected by drugs, DeGrandpre demonstrates that psychoactive substances are not angels or demons irrespective of why, how, or by whom they are used. The Cult of Pharmacology is a bold and necessary new account of America’s complex relationship with drugs.
The Cult of Pythagoras is also about invention in a positive sense. Most people view mathematical breakthroughs as “discoveries” rather than invention or creativity, believing that mathematics describes a realm of eternal ideas. But mathematicians have disagreed about what is possible and impossible, about what counts as a proof, and even about the results of certain operations. Was there ever invention in the history of concepts such as zero, negative numbers, imaginary numbers, quaternions, infinity, and infinitesimals?
Martínez inspects a wealth of primary sources, in several languages, over a span of many centuries. By exploring disagreements and ambiguities in the history of the elements of mathematics, The Cult of Pythagoras dispels myths that obscure the actual origins of mathematical concepts. Martínez argues that an accurate history that analyzes myths reveals neglected aspects of mathematics that can encourage creativity in students and mathematicians.
“McCloskey and Ziliak have been pushing this very elementary, very correct, very important argument through several articles over several years and for reasons I cannot fathom it is still resisted. If it takes a book to get it across, I hope this book will do it. It ought to.”
—Thomas Schelling, Distinguished University Professor, School of Public Policy, University of Maryland, and 2005 Nobel Prize Laureate in Economics
“With humor, insight, piercing logic and a nod to history, Ziliak and McCloskey show how economists—and other scientists—suffer from a mass delusion about statistical analysis. The quest for statistical significance that pervades science today is a deeply flawed substitute for thoughtful analysis. . . . Yet few participants in the scientific bureaucracy have been willing to admit what Ziliak and McCloskey make clear: the emperor has no clothes.”
—Kenneth Rothman, Professor of Epidemiology, Boston University School of Health
The Cult of Statistical Significance shows, field by field, how “statistical significance,” a technique that dominates many sciences, has been a huge mistake. The authors find that researchers in a broad spectrum of fields, from agronomy to zoology, employ “testing” that doesn’t test and “estimating” that doesn’t estimate. The facts will startle the outside reader: how could a group of brilliant scientists wander so far from scientific magnitudes? This study will encourage scientists who want to know how to get the statistical sciences back on track and fulfill their quantitative promise. The book shows for the first time how wide the disaster is, and how bad for science, and it traces the problem to its historical, sociological, and philosophical roots.
Stephen T. Ziliak is the author or editor of many articles and two books. He currently lives in Chicago, where he is Professor of Economics at Roosevelt University. Deirdre N. McCloskey, Distinguished Professor of Economics, History, English, and Communication at the University of Illinois at Chicago, is the author of twenty books and three hundred scholarly articles. She has held Guggenheim and National Humanities Fellowships. She is best known for How to Be Human* Though an Economist (University of Michigan Press, 2000) and her most recent book, The Bourgeois Virtues: Ethics for an Age of Commerce (2006).
In recent years widespread attention has been focused on decisions handed down by the Supreme Court that grapple with passionate issues: integration, school prayer, abortion, affirmative action. The appointment of new justices is a highly charged political event although the Court is supposed to be "above" politics. Amidst the bicentennial celebration of the Constitution and almost daily reports of major confrontations awaiting the highest court’s judicial review, John Brigham presents a fresh and innovative examination of the U.S. Supreme Court as the final arbiter of constitutional interpretation.
Drawing on philosophy and anthropology, The Cult of the Court offers a social scientific investigation of an institution whose authority has come to be taken for granted. The author emphasizes that the Court is an institution and that its authority is founded less in the claim of legal expertise than in hierarchical finality—the assertion of political will, not of legal judgment. He shows how the Court has supplanted the Constitution as the authority in our political world and that what makes legal "sense" is affected by these factors of institutionalization, bureaucratization, and court-dominated constitutionalism.
Brown challenges the long-held “two-tier” idea of religion that separated the religious practices of the sophisticated elites from those of the superstitious masses, instead arguing that the cult of the saints crossed boundaries and played a dynamic part in both the Christian faith and the larger world of late antiquity. He shows how men and women living in harsh and sometimes barbaric times relied upon the holy dead to obtain justice, forgiveness, and power, and how a single sainted hair could inspire great thinkers and great artists.
An essential text by one of the foremost scholars of European history, this expanded edition includes a new preface from Brown, which presents new ideas based on subsequent scholarship.
Edited with an introduction by Marla R. Miller, Cultivating a Past brings together fifteen essays, some previously published and others new, that tell the story of Hadley from a variety of disciplinary vantage points. Archaeologists Elizabeth Chilton, Siobhan Hart, Christopher Donta, Edward Hood, and Rita Reinke investigate relations between Native and European communities, while historians Gregory Nobles, Alice Nash, and Pulitzer Prize winner Laurel Thatcher Ulrich explore the social, cultural, and political past of this New England town. Musicologist Andrea Olmstead surveys the career of composer Roger Sessions, costume specialist Lynne Bassett interprets the wardrobes of the town's seventeenth-century residents, Douglas Wilson investigates the connection between Hadley and the regicides William Goffe and Edward Whalley, and Martin Antonetti charts the course of a 1599 Bible alleged to have belonged Goffe.
Taken together, the essays capture how men and women in this small community responded to the same challenges that have faced other New Englanders from the seventeenth century to the present. They also reveal how the town's historical sense of itself evolved along the way, as stories of the alleged "Angel of Hadley," of favorite sons Joseph Hooker and Clarence Hawkes, and of daughters Mary Webster and Elizabeth Porter Phelps contributed to a civic identity that celebrates strength of character.
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