A SCHOLARLY BOOK REPOSITORY
It was the strangest of experiments. What began as a utopian environment, where mice had sumptuous accommodations, all the food and water they could want, and were free from disease and predators, turned into a mouse hell. Science writer and animal behaviorist Lee Alan Dugatkin introduces readers to the peculiar work of rodent researcher John Bumpass Calhoun. In this enthralling tale, Dugatkin shows how an ecologist-turned-psychologist-turned-futurist became a science rock star embedded in the culture of the 1960s and 1970s. As interest grew in his rodent cities, Calhoun was courted by city planners and reflected in everything from Tom Wolfe’s hard-hitting novels to the children’s book Mrs. Frisby and the Rats of NIMH. He was invited to meetings with the Royal Society and the Pope, and taken seriously when he proposed a worldwide cybernetic brain—a decade before others made the Internet a reality.
Readers see how Calhoun’s experiments—rodent apartment complexes like “Mouse Universe 25”—led to his concept of “behavioral sinks” with real effects on public policy discussions. Overpopulation in Calhoun’s mouse complexes led to the loss of sex drive, the absence of maternal care, and a class of automatons including “the beautiful ones,” who spent their time grooming themselves while shunning socialization. Calhoun—and the others who followed his work—saw the collapse of this mouse population as a harbinger of the ill effects of an overpopulated human world.
Drawing on previously unpublished archival research and interviews with Calhoun’s family and former colleagues, Dugatkin offers a riveting account of an intriguing scientific figure. Considering Dr. Calhoun’s experiments, he explores the changing nature of scientific research and delves into what the study of animal behavior can teach us about ourselves.
Born in Russia in 1861, Spivak immigrated to the United States in 1882 and received his medical degree from Philadelphia's Jefferson Medical College by 1890. In 1896, his wife's poor health brought them to Colorado. Determined to find a cure, Spivak became one of the most charismatic and well-known leaders in the American Tuberculosis Movement. His role as director of Denver's Jewish Consumptives' Relief Society sanatorium allowed his personal philosophies to strongly influence policies. His unique blend of Yiddishkeit, socialism, and secularism - along with his belief in treating the "whole" patient - became a model for integrating medical, social, and rehabilitation services that was copied across the country.
Not only a national leader in the crusade against tuberculosis but also a luminary in the American Jewish community, Dr. Charles Spivak was a physician, humanitarian, writer, linguist, journalist, administrator, social worker, ethnic broker, and medical, public health, and social crusader. Abrams's biography will be a welcome addition to anyone interested in the history of medicine, Jewish life in America, or Colorado history.
Benjamin Duke has compiled this comprehensive biography of David Murray to showcase Murray’s work, both in assisting around 100 samurai students in their studies at Rutgers, and in his unprecedented role in early Japanese-American relations. This fascinating story uncovers a little-known link between Rutgers University and Japan, and it is the only book to conclude that Rutgers made a greater contribution to the development of modern education in the early Meiji Era than any other non-Japanese college or university in the world.
No longer! In this witty, accessible, and beautifully illustrated guide, Eleanor Spicer Rice, Alex Wild, and Rob Dunn metamorphose creepy-crawly revulsion into myrmecological wonder. Emerging from Dunn’s ambitious citizen science project Your Wild Life (an initiative based at North Carolina State University), Dr. Eleanor’s Book of Common Ants provides an eye-opening entomological overview of the natural history of species most noted by project participants—and even offers tips on keeping ant farms in your home. Exploring species from the spreading red imported fire ant to the pavement ant, and featuring Wild’s stunning photography, this guide will be a tremendous resource for teachers, students, and scientists alike. But more than this, it will transform the way we perceive the environment around us by deepening our understanding of its littlest inhabitants, inspiring everyone to find their inner naturalist, get outside, and crawl across the dirt—magnifying glass in hand.
No longer! In this witty, accessible, and beautifully illustrated guide, Eleanor Spicer Rice, Alex Wild, and Rob Dunn metamorphose creepy-crawly revulsion into myrmecological wonder. Emerging from Dunn’s ambitious citizen science project Your Wild Life (an initiative based at North Carolina State University) and the work of Brian Fisher with the California Academy of Sciences, Dr. Eleanor’s Book of Common Ants of California provides an eye-opening entomological overview of the natural history of California’s species most noted by project participants—and even offers tips on keeping ant farms in your home. Exploring species from the high noon and harvester ants to the honeypot and acrobat ants, and featuring Wild’s stunning photography, this guide will be a tremendous resource for teachers, students, and scientists alike. But more than this, it will transform the way Californians perceive the environment around them by deepening their understanding of its littlest inhabitants, inspiring everyone to find their inner naturalist, get outside, and crawl across the dirt—magnifying glass in hand.
No longer! In this witty, accessible, and beautifully illustrated guide, Eleanor Spicer Rice, Alex Wild, and Rob Dunn metamorphose creepy-crawly revulsion into myrmecological wonder. Emerging from Dunn’s ambitious citizen science project Your Wild Life (an initiative based at North Carolina State University), Dr. Eleanor’s Book of Common Ants of Chicago provides an eye-opening entomological overview of the natural history of Chicago’s species most noted by project participants—and even offers tips on keeping ant farms in your home. Exploring species from the hobbit ant to the tiny trapjaw ant, and featuring contributions from E. O. Wilson and Field Museum ant scientist Corrie Moreau as well as Wild’s stunning photography, this guide will be a tremendous resource for teachers, students, and scientists alike. But more than this, it will transform the way Chicagoans perceive the environment around them by deepening their understanding of its littlest inhabitants, inspiring everyone to find their inner naturalist, get outside, and crawl across the dirt—magnifying glass in hand.
No longer! In this witty, accessible, and beautifully illustrated guide, Eleanor Spicer Rice, Alex Wild, and Rob Dunn metamorphose creepy-crawly revulsion into myrmecological wonder. Emerging from Dunn’s ambitious citizen science project Your Wild Life (an initiative based at North Carolina State University), Dr. Eleanor’s Book of Common Ants of New York City provides an eye-opening entomological overview of the natural history of New York’s species most noted by project participants—and even offers insight into the ant denizens of the city’s subways and Central Park. Exploring species from the honeyrump ant to the Japanese crazy ant, and featuring Wild’s stunning photography as well as tips on keeping ant farms in your home, this guide will be a tremendous resource for teachers, students, and scientists alike. But more than this, it will transform the way New Yorkers perceive the environment around them by deepening their understanding of its littlest inhabitants, inspiring everyone to find their inner naturalist, get outside, and crawl across the dirt—magnifying glass in hand.
No longer! In this witty, accessible, and beautifully illustrated guide, Christopher M. Buddle and Eleanor Spicer Rice metamorphose creepy-crawly revulsion into spider wonder. Emerging from ambitious citizen science project Your Wild Life (an initiative based at North Carolina State University), Dr. Eleanor's Book of Common Spiders provides an eye-opening arachnological overview of the natural history of species most noted by project participants, showcasing some of the fascinating spiders found in our attics and tents, front lawns and forests—and even introducing us to spiders that fish. Exploring species from the tiny (but gymnastic) zebra jumping spider to the naturally shy and woefully misunderstood black widow, this guide will be a tremendous resource for teachers, students, and scientists alike. But more than this, it will transform the way we perceive the environment around us by deepening our understanding of its littlest inhabitants, inspiring all of us to find our inner naturalist, get outside, and crawl across the dirt—magnifying glass in hand.
Sprawled in his favorite armchair, Dr. Freud notices a peculiar phrase in pages of his notebook: “preaching to the fishes.” What could he have meant by this? If there’s one thing he has learned working as a psychoanalyst, it’s that the best way to make sense of yourself is through your dreams—and so he settles down for a nice long nap. But no sooner does his head hit the pillow than he begins to hear voices! A frightened fish with a childhood memory lodged in its throat coaxes Dr. Freud into the cold water, where his ideas come to life through an unforgettable cast of characters, including a loquacious carp and three frogs—Id, Ego, and Superego—locked in fierce competition for a single waterlily.
Dr. Golem explores some of the mysteries and complexities of medicine while untangling the inherent conundrums of scientific research and highlighting its vagaries. Driven by the question of what to do in the face of the fallibility of medicine, Dr. Golem encourages a more inquisitive attitude toward the explanations and accounts offered by medical science. In eight chapters devoted to case studies of modern medicine, Collins and Pinch consider the prevalence of tonsillectomies, the placebo effect and randomized control trials, bogus doctors, CPR, the efficacy of Vitamin C in fighting cancer, chronic fatigue syndrome, AIDS cures, and vaccination. They also examine the tension between the conflicting faces of medicine: medicine as science versus medicine as a source of succor; the interests of an individual versus the interests of a group; and the benefits in the short term versus success rates in the long term. Throughout, Collins and Pinch remind readers that medical science is an economic as well as a social consideration, encapsulated for the authors in the timeless struggle to balance the good health of the many—with vaccinations, for instance—with the good health of a few—those who have adverse reactions to the vaccine.
In an age when the deaths of research subjects, the early termination of clinical trials, and the research guidelines for stem cells are front-page news, Dr. Golem is a timely analysis of the limitations of medicine that never loses sight of its strengths.
In this first comprehensive, full-length biography of Hunt, Myra C. Glenn shows how this single woman from a working-class Boston home became a successful physician and noted reformer, illuminating the struggle for woman's rights and the fractious and gendered nature of medicine in antebellum America.
A distinguished physician and professor of medicine at Edinburgh University, and a forensic expert for the British Crown, Joseph Bell was well known for his remarkable powers of observation and deduction. In what would become true Sherlockian fashion, he had the ability to deduce facts about his patients from otherwise unremarkable details. In one instance recounted by Arthur Conan Doyle himself—and similar to Sherlock Holmes's own observations in "The Greek Interpreter"—Bell took little time to determine that one of his patients had recently served in the army, a non-commissioned officer discharged from his Highland regiment stationed in Barbados:
“The man was a respectful man, but did not remove his hat. They do not in the army, but he would have learned civilian ways had he been long discharged. He has an air of authority and he is obviously Scottish. As to Barbados, his complaint is elephantitis, which is West Indian and not British.”
Based on extensive research into the life of Bell and including tantalizing accounts of the connections between Bell and Conan Doyle, this biography is required reading for anyone interested in Victorian medicine, in the history of detective fiction, and in Sherlock Holmes and Dr. Watson.
Pioneering North Woods doctor Kate Pelham Newcomb comes to life in this addition to the Badger Biographies series for young readers. Born in 1885, Kate Pelham was suppose to grow up to be a proper young lady in Boston, but despite her father's wishes she was determined to be a doctor. After medical school, her husband's health brought them to the clean air of northern Wisconsin and before long Kate knew every back road and cabin in the North Woods. She visited patients by snowmobile, by canoe, and by snowshoe and never sent a bill. Instead she was paid in firewood and vegtables.
But what Kate dreamed of more than anything for her patients was a hospital. And that's when the kids of the community got involved. They set out to collect a million pennies - $10,000 - to help Dr. Kate build a hospital. As the news spread, coins poured in from countries across the globe. Students carted bushels of pennies, and Dr. Kate read thousands of letters cheering on her effort. Her dream came true in 1954 when the Lakeland Memorial Hospital opened its doors. Young readers will warm to Kate's spirit of compassion and never-say-never attitude.
Italian doctor Leonardo Pazzi and Alcesta, his “future lover,” travel through the picturesque, hilly region of Sloboda, near Kharkiv in northeast Ukraine. They experience a series of encounters with local Ukrainians and nature, disappearances, and transformations filled with paradoxes. The characters are bright, marionette-like caricatures whom the author constructs and moves ostentatiously in full view of the reader, revealing his artistic devices with a sense of absurd, mischievous humor.
A novel of exuberance and whim that deconstructs the very principles of writing and estranges everyday phenomena, Dr. Leonardo’s Journey marks the highpoint of Ukrainian modernism right before it was violently cut down by Stalin’s repressions. The novel shifts away from character or plot as such and instead celebrates the places and spaces in which these things come into being, and the sheer joy of movement and experience. In this sense, Maik Yohansen’s heroes echo Mykola Hohol, whose tour through Russia’s vast spaces in Nikolai Gogol’s Dead Souls is an obvious reference point, and Laurence Sterne, whose irreverent narrative style and textual games Yohansen emulates. Presented here in a contemporary, deft English translation, the novel is a must read for everyone interested in discovering the rich heritage of Ukrainian modernism.
When the American reporter Henry Morton Stanley stepped out of the jungle in 1871 and doffed his pith helmet to the Scottish missionary-explorer Dr. David Livingstone, his greeting was to take on mythological proportions. But do any of us really know what his words meant at the time--and what they have come to mean since?
Far from meeting in a remote thicket in "Darkest Africa," Stanley met Livingstone in the middle of a thriving Muslim community. The news of their encounter was transmitted around the globe, and Livingstone instantly became one of the world's first international celebrities.
This book shows how urgently a handshake between a Briton and an American was needed to heal the rift between the two countries after the American Civil War. It uncovers for the first time the journeys that Livingstone's African servants made around Britain after his death, and it makes a case for Stanley's immense influence on the idea of the modern at the dawn of the twentieth century. Drawing on films, children's books, games, songs, cartoons, and TV shows, this book reveals the many ways our culture has remembered Stanley's phrase, while tracking the birth of an Anglo-American Christian imperialism that still sets the world agenda today.
Dr. Livingstone, I Presume? is a story of conflict and paradox that also takes us into the extraordinary history of British engagement with Africa. Clare Pettitt shows both the bleakest side of imperialism and the strange afterlife of a historical event in popular mythmaking and music hall jokes.
Perhaps more telling about her life are the words of an 1866 London Anglo-American Times reporter, "Her strange adventures, thrilling experiences, important services and marvelous achievements exceed anything that modern romance or fiction has produced. . . . She has been one of the greatest benefactors of her sex and of the human race."
In this biography Sharon M. Harris steers away from a simplistic view and showcases Walker as a Medal of Honor recipient, examining her work as an activist, author, and Civil War surgeon, along with the many nineteenth-century issues she championed:political, social, medical, and legal reforms, abolition, temperance, gender equality, U.S. imperialism, and the New Woman.
Rich in research and keyed to a new generation, Dr. Mary Walker captures its subject's articulate political voice, public self, and the realities of an individual whose ardent beliefs in justice helped shape the radical politics of her time.
Nurses represent the largest segment of the U.S. health care workforce and spend significantly more time with patients than any other member of the health care team. Dr. Nurse probes their history to examine major changes that have taken place in American health care in the second half of the twentieth century. The book reveals how federal and state health and higher education policies shaped education within health professions after World War II.
Starting in the 1950s, academic nurses sought to construct a science of nursing—distinct from that of the related biomedical or behavioral sciences—that would provide the basis for nursing practice. Their efforts transformed nursing’s labor into a valuable site of knowledge production and proved how the application of their knowledge was integral to improving patient outcomes. Exploring the knowledge claims, strategies, and politics involved as academic nurses negotiated their roles and nursing’s future, Dr. Nurse highlights how state-supported health centers have profoundly shaped nursing education and health care delivery.
An analysis of the efforts of American nurses to establish nursing as an academic discipline and nurses as valued researchers in the decades after World War II.
Nurses represent the largest segment of the U.S. health care workforce and spend significantly more time with patients than any other member of the health care team. Dr. Nurse probes their history to examine major changes that have taken place in American health care in the second half of the twentieth century. The book reveals how federal and state health and higher education policies shaped education within health professions after World War II.
Starting in the 1950s, academic nurses sought to construct a science of nursing—distinct from that of the related biomedical or behavioral sciences—that would provide the basis for nursing practice. Their efforts transformed nursing’s labor into a valuable site of knowledge production and proved how the application of their knowledge was integral to improving patient outcomes. Exploring the knowledge claims, strategies, and politics involved as academic nurses negotiated their roles and nursing’s future, Dr. Nurse highlights how state-supported health centers have profoundly shaped nursing education and health care delivery.
Drawing on maps, plans, photographs, and drawings, Dr Radcliffe’s Library tells the fascinating story of the building’s creation over more than thirty years. Early designs for the Radcliffe Camera were drawn by the brilliant architect Nicholas Hawksmoor, who conceived the shape so recognizable today: a great rotunda topped by the University of Oxford’s only dome. From there, it would take decades to acquire and clear the site between the University Church of St Mary’s and the Bodleian. After Hawksmoor’s death, the project was taken on by the Scottish architect James Gibbs who refined the design and supervised the library’s construction.
Published to accompany an exhibition opening in November at the Bodleian Library, Dr Radcliffe’s Library tells the fascinating story of the making of this architectural masterpiece.
Flavored by the oddities of historic personalities and facts, Dr. Radway’s Sarsaparilla Resolvent is set in Bush Hill, Philadelphia, 1871—home to the Baldwin Locomotive Works and a massive, gothic prison. Acclaimed writer Beth Kephart captures the rhythms and smells of an extraordinary era as William Quinn and his Ma, Essie, grapple with life among terrible accidents, miraculous escapes, and shams masquerading as truth.
An ingenious reappraisal of a classic text, Dracula's Crypt presents Stoker's novel as a subtly ironic commentary on England's preoccupation with racial purity. Probing psychobiographical, political, and cultural elements of Stoker's background and milieu, Joseph Valente distinguishes Stoker's viewpoint from that of his virulently racist, hypermasculine vampire hunters, showing how the author's dual Anglo-Celtic heritage and uncertain status as an Irish parvenu among London's theatrical elite led him to espouse a progressive racial ideology at odds with the dominant Anglo-Saxon supremacism. In the light of Stoker's experience, the shabby-genteel Count Dracula can be seen as a doppelgänger, an ambiguous figure who is at once the blood-conscious landed aristocrat and the bloodthirsty foreign invader.
Stoker also confronts gender ideals and their implications, exposing the "inner vampire" in men like Jonathan Harker who dominate and absorb the women who become their wives. Ultimately, Valente argues, the novel celebrates a feminine heroism, personified by Mina Harker, that upholds an ethos of social connectivity against the prevailing obsession with blood as a vehicle of identity.
Revealing a profound and heretofore unrecognized ethical and political message, Dracula's Crypt maintains that the real threat delineated in Dracula is not racial degeneration but the destructive force of racialized anxiety itself. Stoker's novel emerges as a powerful critique of the very anxieties it has previously been taken to express: anxieties concerning the decline of the British empire, the deterioration of Anglo-Saxon culture, and the contamination of the Anglo-Saxon race.
From Second Draft:
What other people learn
From birth,
Betrayal,
I learned late.
My soul perched
On an olive branch
Combing itself,
Waving its plumes. I said
Being mortal,
I aspire to
Mortal things.
I need you,
Said my soul,
If you’re telling the truth.
Draft of a Letter is a book about belief—not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems discover infinitude in the most familiar places. The revelation is disorienting and, as a result, these poems talk to themselves, revise themselves, fashioning a dialogue between self and soul that opens outward to include other voices, lovers, children, angels, and ghosts. For James Longenbach, great distance makes the messages we send sweeter. To be divided from ourselves is never to be alone. “If the kingdom is in the sky,” says the body to the soul, “Birds will get there before you.” “In time,” says the awakening soul, “I liked my second / Body better / Than the first.” To live, these poems insist, is to arise every day to the strange magnificence of the people and places we thought we knew best. Draft of a Letter is an unsettled and radiant paradiso, imagined in the death-shadowed, birth-haunted middle of a long life.
Praise for Fleet River
“A sensibility this cogent, this subtle and austere is rare; even rarer is its proof that poetry still flows through all things and transforms all things in the process.”—Carol Muske-Dukes, Los Angeles Times Book Review
Drafting a Conservation Blueprint lays out for the first time in book form a step-by-step planning process for conserving the biological diversity of entire regions. In an engaging and accessible style, the author explains how to develop a regional conservation plan and offers experience-based guidance that brings together relevant information from the fields of ecology, conservation biology, planning, and policy. Individual chapters outline and discuss the main steps of the planning process, including:
• selecting conservation targets and setting goals
• assessing existing conservation areas and filling information gaps
• assessing population viability and ecological integrity
• selecting and designing a portfolio of conservation areas
• assessing threats and setting priorities
A concluding section offers advice on turning conservation plans into action, along with specific examples from around the world.
The book brings together a wide range of information about conservation planning that is grounded in both a strong scientific foundation and in the realities of implementation.
Early chapters focus on the basics of geometric constructions, orthographic techniques, soft-line sketching applications, lettering, and dimensioning. Later chapters discuss real-life applications of production drawing and ancillary skills such as time and material estimation and shop-drawing nomenclature. Two chapters detail a series of design and shop drawings required to mount a specific design project, providing a guided path through both phases of the design/construction process. Most chapters conclude with one or more worksheets or problems that provide readers with an opportunity to test their understanding of the material presented.
The authors' discussion of universal CAD principles throughout the manuscript provides a valuable foundation that can be used in any computer-based design, regardless of the software. Dorn and Shanda treat the computer as another drawing tool, like the pencil or T-square, but one that can help a knowledgeable drafter potentially increase personal productivity and accuracy when compared to traditional hand-drafting techniques.
Drafting for the Theatre, second edition assembles in one book all the principal types of drawings, techniques, and conventional wisdom necessary for the production of scenic drafting, design, and shop drawings. It is richly illustrated with numerous production examples and is fully indexed to assist students and technicians in finding important information. It is structured to support a college-level course in drafting, but will also serve as a handy reference for the working theatre professional.
Drag Queens and Beauty Queens presents a vivid ethnography of the Miss’d America pageant and the gay neighborhood from which it emerged in the early 1990s as a moment of campy celebration in the midst of the AIDS crisis. It examines how the pageant strengthened community bonds and activism, as well as how it has changed now that Rupaul’s Drag Race has brought many of its practices into the cultural mainstream. Comparing the Miss’d America pageant with its glitzy cisgender big sister, anthropologist Laurie Greene discovers how the two pageants have influenced each other in unexpected ways.
Drag Queens and Beauty Queens deepens our understanding of how femininity is performed at pageants, exploring the various ways that both the Miss’d America and Miss America pageants have negotiated between embracing and critiquing traditional gender roles. Ultimately, it celebrates the rich tradition of drag performance and the community it engenders.
In this lively book, Leila J. Rupp and Verta Taylor take us on an entertaining tour through one of America's most overlooked subcultures: the world of the drag queen. They offer a penetrating glimpse into the lives of the 801 Girls, the troupe of queens who perform nightly at the 801 Cabaret for tourists and locals. Weaving together their fascinating life stories, their lavish costumes and eclectic music, their flamboyance and bitchiness, and their bawdy exchanges with one another and their audiences, the authors explore how drag queens smash the boundaries between gay and straight, man and woman, to make people think more deeply and realistically about sex and gender in America today. They also consider how the queens create a space that encourages camaraderie and acceptance among everyday people, no matter what their sexual preferences might be.
Based on countless interviews with more than a dozen drag queens, more than three years of attendance at their outrageous performances, and even the authors' participation in the shows themselves, Drag Queens at the 801 Cabaret is a witty and poignant portrait of gay life and culture. When they said life is a cabaret, they clearly meant the 801.
In Dragging Wyatt Earp essayist Robert Rebein explores what it means to grow up in, leave, and ultimately return to the iconic Western town of Dodge City, Kansas. In chapters ranging from memoir to reportage to revisionist history, Rebein contrasts his hometown’s Old West heritage with a New West reality that includes salvage yards, beefpacking plants, and bored teenagers cruising up and down Wyatt Earp Boulevard.
Along the way, Rebein covers a vast expanse of place and time and revisits a number of Western myths, including those surrounding Francisco Vasquez de Coronado, the Cheyenne chief Black Kettle, George Armstrong Custer, and of course Wyatt Earp himself. Rebein rides a bronc in a rodeo, spends a day as a pen rider at a local feedlot, and attempts to “buck the tiger” at Dodge City’s new Boot Hill Casino and Resort.
Funny and incisive, Dragging Wyatt Earp is an exciting new entry in what is sometimes called the nonfiction of place. It is a must- read for anyone interested in Western history, contemporary memoir, or the collision of Old and New West on the High Plains of Kansas.
In this fiery cultural history, Martin Arnold asks how these unifying impulses can be explained. Are they owed to our need to impose order on chaos in the form of a dragon-slaying hero? Is it our terror of nature, writ large, unleashed in its most destructive form? Or is the dragon nothing less than an expression of that greatest and most disturbing mystery of all: our mortality? Tracing the history of ideas about dragons from the earliest of times to Game of Thrones, Arnold explores exactly what it might be that calls forth such creatures from the darkest corners of our collective imagination.
Just as more and more people enjoy watching birds and butterflies, watching the many shimmering dragonflies and damselflies—collectively called odonates, from Odonata, the name of this order of aquatic insects—has become a popular pastime. Now Dragonflies and Damselflies in Your Pocket introduces us to 50 of the showiest odonates of the Upper Midwest.
Ann Johnson’s text is clear and informative and her photographs are stunning; it is impossible to look at them without wanting to head out for the nearest stream and search for the living insects. In addition to providing useful general information about broad-winged damsels, spreadwings, pond damsels, darners, clubtails, cruisers, emeralds, and skimmers, she includes common and scientific names, sizes, general flight seasons, and the best habitats in which to find each species: rocky rivers, wetlands, ponds, still waters, and so on.
With their extremely large eyes, elongated transparent wings, long and slender abdomens, and prehensile extendible jaws, dragonflies and damselflies are efficient hunters and quick, darting fliers. Their beauty and their behavior make them delightful subjects for birdwatchers and other nature lovers. Dragonflies and Damselflies in Your Pocket will greatly enhance your appreciation of these winged marvels.
Dragonflies and damselflies (together known as Odonata) are among the most remarkably distinctive insects in their appearance and biology, and they have become some of the most popular creatures sought by avocational naturalists. Texas hosts 160 species of dragonflies, nearly half of the 327 species known in North America, making the state a particularly good place to observe dragonflies in their natural habitats.
Dragonflies of Texas is the definitive field guide to these insects. It covers all 160 species with in situ photographs and detailed anatomical images as needed. Each species is given a two-page spread that includes photographs of both sexes and known variations when possible, key features, a distribution map, identification, discussion of similar species, status in Texas, habitat, seasonality, and general comments. Many of the groups also have comparative plates that show anatomically distinctive characteristics. In addition to the species accounts, John Abbott discusses dragonfly anatomy, life history, conservation, names, and photography. He also provides information on species that may eventually be discovered in Texas, state and global conservation rankings, seasonality of all species in chronological order, and additional resources and publications on the identification of dragonflies.
Dragonfly Dance is a collection of poems remarkable for their candor and sense of catharsis. Writing from the vantage point of an American Indian women, Denise Lajimodiere opens a door into the lives of Native girls and women. Her poems often reflect the deep tensions between Native culture and white culture.
Reflected in Lajimodiere's poems, life is sometimes beautiful but rarely easy. "The Necklace," the narrator details how her mother repaired a favorite beaded necklace, "her arthritic fingers patiently / threading beads / on the long thin needle, weaving / night after night." When the necklace is finally repaired, she wears it to school where
At recess a White boy
ran by, yanked
it off my neck and threw it.
I watched as it ascended
high above the blacktop,
the beads glittered, scattering their light,
a rainbow against gray skies.
Unadorned, direct, and often raw, these riveting poems sear their way into our imaginations, inviting us into a world we might never have known. We are richer for the knowledge.
While authors like Siu Kam Wen and Julia Wong often rely on their Chinese cultural heritage for inspiration, many others, like Pedro Zulen, Mario Wong, and Julio Villanueva Chang, choose other sources of inspiration and identification. López-Calvo studies the different strategies used by these writers to claim either their belonging in the Peruvian national project or their difference as a minority ethnic group within Peru. Whether defending the rights of indigenous Peruvians, revealing the intricacies of a life of self-exploitation among Chinese shopkeepers, exploring their identitarian dilemmas, or re-creating—beyond racial memory—life under the political violence in Lima of the 1980s, these authors provide their community with a voice and a collective agency, while concomitantly repositioning contemporary Peruvian culture as transnational.
López-Calvo bridges from his earlier study of Peruvian Nikkei’s testimonials and literature and raises this question: why are Chinese Peruvian authors seemingly more disconnected from their Asian heritage than Japanese Peruvian authors from theirs? The author argues that the Chinese arrival in Peru half a century earlier influenced a stronger identification with the criollo world. Yet he argues that this situation may soon be changing as the new geopolitical and economic influence of the People’s Republic of China in the world, particularly in Latin America and the Caribbean, affects the way Chinese and Sino–Latin American communities and their cultures are produced and perceived.
Even after Hiroshima and Nagasaki, most Americans may not have been sure what an atomic bomb was or how it worked. But they did sense that it had fundamentally changed the future of the human race. In this book, Robert Jacobs analyzes the early impact of nuclear weapons on American culture and society. He does so by examining a broad range of stories, or "nuclear narratives," that sought to come to grips with the implications of the bomb's unprecedented and almost unimaginable power.
Beginning with what he calls the "primary nuclear narrative," which depicted atomic power as a critical agent of social change that would either destroy the world or transform it for the better, Jacobs explores a variety of common themes and images related to the destructive power of the bomb, the effects of radiation, and ways of surviving nuclear war. He looks at civil defense pamphlets, magazines, novels, and films to recover the stories the U.S. government told its citizens and soldiers as well as those presented in popular culture.
According to Jacobs, this early period of Cold War nuclear culture—from 1945 to the banning of above-ground testing in 1963—was distinctive for two reasons: not only did atmospheric testing make Americans keenly aware of the presence of nuclear weapons in their lives, but radioactive fallout from the tests also made these weapons a serious threat to public health, separate from yet directly linked to the danger of nuclear war.
In Davis Schneiderman’s shocking novel, Drain, freedom, creativity, and transgression wage war with forces of control, censorship, and conformity. The wordscapes of William S. Burroughs and Thomas Pynchon, the dystopic nightmares of Philip K. Dick, and the transgressive punch of Chuck Palahniuk and Georges Bataille together convene in this stunning and thrilling work.
Drain Songs gathers five stories and a novella focused on the many trials of modern life—addiction and depression, mania and disorder, attempts and failure at keeping the worst at bay. Grant Maierhofer’s stories focus on characters in varying states of disarray and stuckness, continuing his literary project of analyzing lives on the fringes of sanity and society. The novella “Drain Songs” is a harrowing narrative focused squarely on addiction and recovery, twelve-step programs, and codependency.
In all of these tales, Maierhofer takes a bee’s-eye view of protagonists from all walks of life, from the working class to the academy, from janitors to professors, embodying the commonalities of men and women struggling with very fundamental elements of survival, perspective, and identity—attempts formal and informal to contend with the trials that forever engage and perplex humanity.
His evocative prose conveys both despair and resignation as well as stultifying, brain-deadening routine and repetition. Still, these stories transcend angst and tilt toward agony and ecstasy and the hope of redemption.
Pulitzer Prize–winning photographer David Peterson has been covering the Drake Relays for nearly forty years, but his love affair with the meet started earlier, when he ran on three winning relay teams there for Kansas State University. Now, drawing upon an unmatched personal archive, he offers the pictures of a lifetime spent on the Blue Oval. He captures on camera athletes of all levels in triumph and defeat, in mid-stride or leap, embracing their fans, their moms and dads, and their kids. In addition to the stars of the past, such as Carl Lewis, Suzy Favor Hamilton, and Herschel Walker, and those of the ’00s, like Lolo Jones and Jeremy Wariner, we see teenagers who may be the stars of the future, as well as the many athletes who will never be famous but nonetheless show themselves—and their sport—at their best.
A beautiful celebration of the Drake Relays and the diverse sports that make up “track and field,” this book will evoke memories and inspire runners, throwers, and jumpers everywhere.
Psychologists, says the old joke, know everything there is to know about the college sophomore and the white rat. But what about the rest of us, older than the former, bigger than the latter, with lives more labyrinthine than either? In this ambitious book, Karl E. Scheibe aims to take psychology out of its rut and bring it into contact with the complex lives that most people quietly live.
Drama, Scheibe reminds us, is no more confined to the theater than religion is to the church or education to the schoolroom. Accordingly, he brings to his reflection on psychology the drama of literature, poetry, philosophy, history, music, and theater. The essence of drama is transformation: the transformation of the quotidian world into something that commands interest and stimulates conversation. It is this dramatic transformation that Scheibe seeks in psychology as he pursues a series of suggestive questions, such as: Why is boredom the central motivational issue of our time? Why are eating and sex the biological foundations of all human dramas? Why is indifference a natural condition, caring a dramatic achievement? Why is schizophrenia disappearing? Why does gambling have cosmic significance?
Writing with elegance and passion, Scheibe asks us to take note of the self-representation, performance, and scripts of the drama that is our everyday life. In doing so, he challenges our dispirited senses and awakens psychology to a new realm of dramatic possibility.
The book shows how perspectives from theater studies, anthropology, and performance studies can enrich readings of the short-story form. Moving beyond arbitrary distinctions between performance and text, it suggests that this literature had a social life and was engaged with questions of circumatlantic and transnational culture. It suggests that the short story itself was never conceived as a nationalist literary form, but worked by mobilizing cosmopolitan connections and meanings. In so doing, the book resurrects a neglected history of American Federalism and its connections to British literary forms.
Drama, Play, and Game demonstrates that the theatrum repudiated by medieval clerics was not "theater" as we understand the term today. Clopper contends that critics have misrepresented Western stage history because they have assumed that theatrum designates a place where drama is performed. While theatrum was thought of as a site of spectacle during the Middle Ages, the term was more closely connected with immodest behavior and lurid forms of festive culture. Clerics were not opposed to liturgical representations in churches, but they strove ardently to suppress May games, ludi, festivals, and liturgical parodies. Medieval drama, then, stemmed from a more vernacular tradition than previously acknowledged-one developed by England's laity outside the boundaries of clerical rule.
Leonora Bernardi (1559–1616), a gentlewoman of Lucca, was a highly regarded poet, dramatist, and singer. She was active in the brilliant courts of Ferrara and Florence at a time when creative women enjoyed exceptional visibility in Italy. Like many such figures, she has since suffered historical neglect. Drama, Poetry and Music in Late-Renaissance Italy presents the first-ever study of Bernardi’s life along with a modern edition of her recently discovered literary corpus, which mostly exists in manuscripts. Her writings are presented in the original Italian with new English translations, scholarly notes, and critical essays. Based on new archival research, the substantial opening section reconstructs Bernardi’s unusually colorful life. The second major section presents her pastoral tragicomedy Clorilli, one of the earliest secular dramatic works by a woman. The third section presents Bernardi’s secular and religious verse, which engaged with new trends in lyric and poetry for music, and was set by various key composers across Italy. The volume thus firmly positions Leonora Bernardi as a distinctive voice and dynamic player in the extraordinarily rich social, cultural, and geo-political networks of late-Renaissance Italy.
The Drama Therapy Decision Tree unites therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session.
The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system.
The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by deconstructing the processes of choosing drama therapy interventions. The authors strive to provide a common language for communicating what drama therapists do in terms of diagnoses and interventions, especially for students and early career professionals in the field.
The book provides a systematic method for drama therapists and drama therapy students to use to determine the most appropriate therapy technique for clients. Paige Dickinson and Sally Bailey have identified and analyzed their own experiences with the task, and here they explain how to put learned theory into practice. In doing so, they provide early career drama therapy professionals a reliable and effective tool for making clinical decisions and offer practitioners a point of reference in addressing the socio-emotional needs of their clients.
The authors explain the basic tools drama therapists use in therapy situations, identify the core healing concepts of the practice, discuss the basic treatment planning process, and explain how these components are used together to identify an appropriate type of intervention for the client. They also offer examples of how this system can be applied to a variety of common diagnoses, and the appendices provide resources to connect drama therapy interventions to global treatment outcomes.
Kathryn Dawson and Bridget Kiger Lee provide an extensive range of tried and tested strategies, planning processes, and learning experiences, in order to create a uniquely accessible manual for those who work, think, train, and learn in educational and/or artistic settings. It is the perfect companion for professional development and university courses, as well as for already established educators who wish to increase student engagement and ownership of learning.
Representing a decade's worth of research, Dramas of Nationhood makes a case for the importance of studying television to answer larger questions about culture, power, and modern self-fashionings. Abu-Lughod explores the elements of developmentalist ideology and the visions of national progress that once dominated Egyptian television—now experiencing a crisis. She discusses the broadcasts in rich detail, from the generic emotional qualities of TV serials and the depictions of authentic national culture, to the debates inflamed by their deliberate strategies for combating religious extremism.
The drama's laws,
the drama's patrons give,
For we that live to please,
must please to live.
—Samuel Johnson, 1747
Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre "must please to live."
Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest—the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole—an audience that Alexander Pope described as "the manyheaded monster of the pit."
Hughes analyzes the changes in the audience's taste through the long span from Dryden's day to Sheridan's. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it.
Hughes concludes that it was the English people's basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the drama's patrons greatly influenced the quality of theatrical production during this long period.
The theater of Agustín Moreto y Cavana (1618–1669) badly needs reevaluation. Present estimation of the work of this Spanish playwright has frozen into a sterile pattern of praise for his technical skill and disapproval of his borrowings. There has been uncritical acceptance of the contention that Moreto's plays are simple reworkings, and no real effort has been made to assess the relevance of this generally accepted belief.
The road to a fair estimation and appreciation of Moreto, Frank Casa believes, is through a rigorous investigation of his plays and their sources. To achieve this purpose he has carefully selected five different comedias, of varying degrees of indebtedness to earlier works: a hagiographic play, San Franco de Sena; El licenciado Vidriera, based on Cervantes' short story; a reinterpretation of a classical theme, Antíoco y Seleuco; a reworked drama, El valiente justiciero; and the comedy El lindo don Diego. In each case he analyzes the original, then the Moreto version, pointing out differences in characterization, attitudes, dramatic elaboration, and themes. Casa proves that, in spite of their similarity to works of predecessors, Moreto's plays should be considered independent literary creations and their author a dramatist with a high degree of artistic integrity.
Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences.
Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Having spent decades working with dramatists to refine and expand their existing plays and screenplays, Dunne effortlessly blends condensed dramatic theory with specific action steps—over sixty workshop-tested exercises that can be adapted to virtually any individual writing process and dramatic script. Dunne’s in-depth method is both instinctual and intellectual, allowing writers to discover new actions for their characters and new directions for their stories. The exercises can be used by those just starting the writing process and by those who have scripts already in development. With each exercise rooted in real-life issues from Dunne’s workshops, readers of this companion will find the combined experiences of more than fifteen hundred workshops in a single guide.
This second edition is fully aligned with a brand-new companion book, Character, Scene, and Story, which offers forty-two additional activities to help writers more fully develop their scripts. The two books include cross-references between related exercises, though each volume can also stand alone.
No ordinary guide to plotting, this handbook centers on the principle that character is key. “The character is not something added to the scene or to the story,” writes Dunne. “Rather, the character is the scene. The character is the story.” With this new edition, Dunne’s remarkable creative method will continue to be the go-to source for anyone hoping to take their story to the stage.
Dramatists in Revolt, through studies of the major playwrights, explores significant movements in Latin American theater. Playwrights discussed are those who have made outstanding contributions to Latin American theater during the post–World War II period and who have been particularly sensitive to world currents in literature and drama, while being acutely responsive to the problems of their own areas. They express concern about communication, isolation, and solitude. On a more basic level, they concern themselves with the political and socioeconomic problems that figure importantly in the Third World.
The fifteen essays deal with the playwrights Antón Arrufat and José Triana (Cuba); Emilio Carballido and Luisa Josefina Hernández (Mexico); Agustín Cuzzani, Osvaldo Dragún, Griselda Gambaro, and Carlos Gorostiza (Argentina); Jorge Díaz, Egon Wolff, and Luis Alberto Heiremans (Chile); René Marqués (Puerto Rico); and Jorge Andrade, Alfredo Dias Gomes, and Plínio Marcos (Brazil). These are dramatists in revolt, sometimes in a thematic sense, not only in protesting the indignities that various systems impose on modern man, but also in a dramatic configuration. They dare to experiment with techniques in the constant search for viable theatrical forms.
Each essay is written by a specialist familiar with the works of the playwright under consideration. In addition to the essays, the book includes a listing of source materials on Latin American theater.
—Perry Gethner
Norris Professor of French, Oklahoma State University
Dramaturgy. An Introduction provides a broad overview of the concept of dramaturgy and the profession of the dramaturg. It is intended for students and teachers of theatre and performance studies, but also for directors, scenographers, actors and for all lovers of theatre.
Profeta explores five arenas for the dramaturg’s attention—text and language, research, audience, movement, and interculturalism. Drawing on her extended collaboration with choreographer and visual artist Ralph Lemon, she grounds her thinking in actual rehearsal-room examples and situates practice within theoretical discourse about contemporary dramaturgy. Moving between theory and practice, word and movement, question and answer until these distinctions blur, she develops the foundational concept of dramaturgical labor as a quality of motion.
Dramaturgy in Motion will be invaluable to practitioners and scholars interested in the processes of creating contemporary dance and movement performance—particularly artists wondering what it might be like to collaborate with a dramaturg and dramaturgs wondering what it might be like to collaborate on movement performance. The book will also appeal to those intrigued by the work of Lemon and his collaborators, to which Profeta turns repeatedly to unfold the thorny questions and rich benefits of dramaturgical labor.
The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry.
Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedymakes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama." Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
Drawing - The Process is a collection of papers, theories and interviews based on the conference and exhibition of the same name held at Kingston University in 2003.
Much debate and research is currently undertaken in this area and it is the intention of the book to galvanize this, while providing a vehicle for deep enquiry. The publication will firstly comprise a collection of refereed papers representing a breadth of activity and research around the issues of drawing within the broad context of art and design activity. The second dimension of the book will be an examination of the drawing processes of high profile practitioners.
The publication will encompass the best contemporary investigation of a subject pivotal to art and design activity, and should be recognized as a fundamental text for students at both undergraduate and postgraduate levels.
Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.
For years political cartoons have shaped the often unflattering popular view of public figures. One of the most-often-portrayed figures of the twentieth century was the automobile manufacturer Henry Ford. Through editorial drawings, a vivid picture of Ford was presented that became the source of myths that surrounded him and continue even to this day.
Drawing Conclusions on Henry Ford is the first and only collection that brings together in one volume these editorial cartoons. They date back as far as the time Ford introduced the Model T in 1908 and extend forward to the introduction of the Model A and subsequent V8 engines in the 1930s. They illustrate the emergence of many of the popular myths surrounding Henry Ford, as seen and understood by the average citizen during the opening decades of the twentieth century. With 150 illustrations, the reader is able to trace the evolving images of Ford from a time period when caricature images of public figures were a primary source of information about those persons. Sometimes funny, sometimes sharp and critical, these cartoons are entertaining in themselves. Viewed as a whole, they create anew view of the Henry Ford story.
Rudolph V. Alvarado is a freelance writer and museum consultant, as well as the former programs leader for the Henry Ford Museum and Greenfield Village. Sonya Y. Alvarado is an instructor of English, at Eastern Michigan University and a former adjunct faculty member, Wayne State University.
It soon became apparent, however, that technological progress had not obviated the inherent value of drawing, and that, in fact, it opened up new avenues for convergent and hybrid drawing practices. This book traces the evolution of design-based drawing through analysis of a series of research projects from the 1980s to recent years that have sought to characterize the changing practices of design within various industries. Built on more than three hundred interviews with designers, academics, and design students, and an exhaustive analysis of thousands of drawings, it aims to generate discussion around historical and contemporary models of the design process.
Drawing (in) the Feminine celebrates and examines the richness of contemporary women’s production in French and Francophone comics art and considers the history of representations made by both dominant and marginalized creators. Bridging historical and contemporary comics output, these essays illuminate the interfaces among genre, gender, and cultural history. Contributors from both sides of the Atlantic, and across a variety of methodologies and disciplinary orientations, challenge prevailing claims about the absence of women creators, characters, and readers in bande dessinée, arguing that women have always been part of its history. While still far from achieving parity with their male counterparts, female creators are occupying an increasingly significant portion of the French-language comics publishing industry, and creators of all genders are putting forth stories that reflect on the diversity and richness of women’s and gender-nonconforming people’s experiences. In the essays collected here, contributors push back against the ways in which the marginalization of women within bande dessinée history has overshadowed their significant contributions, extending avenues for further exploring the true diversity of a flourishing contemporary production.
Contributors:
Armelle Blin-Rolland, Véronique Bragard, Michelle Bumatay, Benoît Crucifix, Isabelle Delorme, Jacques Dürrenmatt, Margaret C. Flinn, Alexandra Gueydan-Turek, Jennifer Howell, Jessica Kohn, Sylvain Lesage, Catriona MacLeod, Mark McKinney
For over a decade García has been serving up inked visuals with the sharpest of political critiques through a Chicano lens. If you’re looking for funny punch lines, these aren’t the cartoons for you. But if you want to pull down Uncle Sam’s pants and see what’s really going on, this is your book.
The rich history of blue paper, from the late fifteenth to the mid-eighteenth centuries, illuminates themes of transcultural interchange, international trade, and global reach. Through the examination of significant works, this volume investigates considerations of supply, use, economics, and innovative creative practice. How did the materials necessary for the production of blue paper reach artistic centers? How were these materials produced and used in various regions? Why did they appeal to artists, and how did they impact artistic practice and come to be associated with regional artistic identities? How did commercial, political, and cultural relations, and the mobility of artists, enable the dispersion of these materials and related techniques? Bringing together the work of the world’s leading specialists, this striking publication is destined to become essential reading on the history, materials, and techniques of drawings executed on blue paper.
Late nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of images—illustrated books, periodicals, cartoons, comics, and ephemera—to a mass readership. This Victorian visual turn prefigured the present-day impact of the Internet on how images are produced and shared, both driving and reflecting the visual culture of its time.
From this starting point, Drawing on the Victorians sets out to explore the relationship between Victorian graphic texts and today’s steampunk, manga, and other neo-Victorian genres that emulate and reinterpret their predecessors. Neo-Victorianism is a flourishing worldwide phenomenon, but one whose relationship with the texts from which it takes its inspiration remains underexplored.
In this collection, scholars from literary studies, cultural studies, and art history consider contemporary works—Alan Moore’s League of Extraordinary Gentlemen, Moto Naoko’s Lady Victorian, and Edward Gorey’s Gashlycrumb Tinies, among others—alongside their antecedents, from Punch’s 1897 Jubilee issue to Alice in Wonderland and more. They build on previous work on neo-Victorianism to affirm that the past not only influences but converses with the present.
Contributors: Christine Ferguson, Kate Flint, Anna Maria Jones, Linda K. Hughes, Heidi Kaufman, Brian Maidment, Rebecca N. Mitchell, Jennifer Phegley, Monika Pietrzak-Franger, Peter W. Sinnema, Jessica Straley
An artist sketching cell division faces a problem: what is the best way to visually represent a dynamic process? This anthology, edited by an artist and a philosopher of science, explores drawing as a way of inquiring into living processes at the molecular, cellular, and organismal scale. In doing so, drawing emerges as a tool for relaying and uncovering knowledge—a pathway for research, not an end result.
Incorporating drawing studies and contributions from scholars in the humanities and life sciences, Drawing Processes of Life addresses epigenetics, epistemology, and metamorphosis in insects, proteins, and other ever-shifting biological systems. A foreword by Scott F. Gilbert, a renowned evolutionary biologist and historian of science, affirms the promise of interdisciplinary collaboration between artists and scientists.
Despite recent technological changes that have digitized many forms of artistic creation, the practice of drawing, in the traditional sense, has remained constant. However, many publications about this subject rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, one reliant on motor responses, and makes connections between a variety of disciplines in order to find out what happens when we draw. Instead of the finite event of producing an artifact, drawing is a process and an end in itself. By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.
Drawing the Future: Chicago Architecture on the International Stage, 1900–1925 is an illustrated catalog with companion essays for an exhibition of the same name at the Mary and Leigh Block Museum of Art at Northwestern University. Drawing the Future explores the creative ferment among Chicago architects in the early twentieth century, coinciding with similar visions around the world. The essays focus on the highlights of the exhibition. David Van Zanten profiles Walter Burley Griffin and Marion Mahony Griffin, Chicago architects who created an influential, prize-winning plan for Canberra, the new capital of Australia. Ashley Dunn looks at the two exhibits at the Musée des Arts Décoratifs in Paris, one devoted to the Griffins in 1914 and the other to the French architect Tony Garnier in 1925, demonstrating the impact of World War I on city planning and architecture. Leslie Coburn examines Chicago’s Neighborhood Center Competition of 1914–15, which sought to redress gaps in Daniel Burnham’s plan of 1909. The ambition and reach of Chicago architecture in this epoch would have lasting influence on cities of the future.
Included in the volume are essays by pioneering comics scholars on newspaper comic strips, Japanese manga, Chinese lianhuanhua, comic books, graphic novels, and editorial cartoons, alongside writings and artwork by celebrated cartoonists such as Will Eisner, Oliver Harrington, Charles Schulz, and Frank Stack. This volume serves as an invaluable resource for anyone interested in the history and study of the comics form, visual culture, or the history of journalism.
How Japanese coastal residents and transnational conservationists collaborated to foster relationships between humans and sea life
Drawing the Sea Near opens a new window to our understanding of transnational conservation by investigating projects in Okinawa shaped by a “conservation-near” approach—which draws on the senses, the body, and memory to collapse the distance between people and their surroundings and to foster collaboration and equity between coastal residents and transnational conservation organizations. This approach contrasts with the traditional Western “conservation-far” model premised on the separation of humans from the environment.
Based on twenty months of participant observation and interviews, this richly detailed, engagingly written ethnography focuses on Okinawa’s coral reefs to explore an unusually inclusive, experiential, and socially just approach to conservation. In doing so, C. Anne Claus challenges orthodox assumptions about nature, wilderness, and the future of environmentalism within transnational organizations. She provides a compelling look at how transnational conservation organizations—in this case a field office of the World Wide Fund for Nature in Okinawa—negotiate institutional expectations for conservation with localized approaches to caring for ocean life.
In pursuing how particular projects off the coast of Japan unfolded, Drawing the Sea Near illuminates the real challenges and possibilities of work within the multifaceted transnational structures of global conservation organizations. Uniquely, it focuses on the conservationists themselves: why and how has their approach to project work changed, and how have they themselves been transformed in the process?
Drawing on rich archival materials, interviews, and more than five hundred scientific articles from the period, Drawing Theories Apart uses the Feynman diagrams as a means to explore the development of American postwar physics. By focusing on the ways young physicists learned new calculational skills, David Kaiser frames his story around the crafting and stabilizing of the basic tools in the physicist's kit—thus offering the first book to follow the diagrams once they left Feynman's hands and entered the physics vernacular.
For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery inscribed on the body held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.
Drawing with Great Needles is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for Dhegiha Sioux and other Native speakers, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.
A unique study of lectionaries and graphic design as a site of biblical reception
How artists portrayed the Bible in large canvas paintings is frequently the subject of scholarly exploration, yet the presentation of biblical texts in contemporary graphic designs has been largely ignored. In this book Amanda Dillon engages multimodal analysis, a method of semiotic discourse, to explore how visual composition, texture, color, directionality, framing, angle, representations, and interactions produce potential meanings for biblical graphic designs. Dillon focuses on the artworks of two American graphic designers—the woodcuts designed by Meinrad Craighead for the Roman Catholic Sunday Missal and Nicholas Markell’s illustrations for the worship books of the Evangelical Lutheran Church in America—to present the merits of multimodal analysis for biblical reception history.
Cancer is that “loathsome beast, which seized upon the breast, drove its long claws into the surrounding tissues, derived its sustenance by sucking out the juices of its victims, and never even relaxed its hold in death,” a turn-of-the-century physician recorded. Even today cancer affects the popular imagination with dread. In a subtle and penetrating cultural history, James Patterson examines reactions to the disease through a century of American life.
The modern American preoccupation with cancer was apparent during the widely publicized illness and death from that ailment of Ulysses S. Grant in 1885. Awareness of the disease soon figured heavily in the public consciousness, and individual reactions to it continue to reveal broader tensions within American society. Patterson examines responses to cancer by researchers and physicians, quacks and faith healers, by the multitude who have heard sensational media reports of “cures,” as well as by many who have had firsthand experiences with the disease.
Optimistic attitudes of many experts contrast sharply with the skepticism of large segments of the population—often the less wealthy and the less educated—that reject the claims of medical science and resist the advice or, some argue, the paternalistic dictates of the government-supported cancer research establishment.
Expanding expectations of a cure from a confident medical profession; the rise of a government-supported Cancer Establishment managing a large research empire; the emergence of a “cancer counterculture”; a new emphasis on prevention through control of the environment and the self; and the private fears and pessimism of millions of Americans form a telling history of American social patterns. Whether the issue is smoking, pollution, or regular checkups, attitudes toward cancer reflect more general views on medicine, public policy, and illness, as well as on death and dying. This century has witnessed both a biomedical revolution and a vastly increased role of the state in the private lives of citizens; but not everyone has bought the medical package, and many have little faith in government intervention.
Readers interested in the cultural dimensions of science and medicine as well as historians, sociologists, and political scientists will be enlightened and challenged by The Dread Disease.
“The Dread of Difference is a classic. Few film studies texts have been so widely read and so influential. It’s rarely on the shelf at my university library, so continuously does it circulate. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. Informative and enlightening, this updated classic is an essential reference for fans and students of horror movies.”—Stephen Prince, editor of The Horror Film and author of Digital Visual Effects in Cinema: The Seduction of Reality
“An impressive array of distinguished scholars . . . gazes deeply into the darkness and then forms a Dionysian chorus reaffirming that sexuality and the monstrous are indeed mated in many horror films.”—Choice
“An extremely useful introduction to recent thinking about gender issues within this genre.”—Film Theory
Through an examination of the violence, musicality, and revolution of his poetry, David Austin brings Johnson’s cultural and philosophical influences alive. Encompassing reggae music, the Bible, Rastafari, and surrealism, socialism, and feminism, as well as the radical politics of Aimé Césaire, John La Rose, Frantz Fanon, C. L. R. James, and W. E. B. Du Bois, Johnson’s poetry reveals itself as an important site of diaspora politics and struggle.
Probing the juncture at which Johnson’s poetry meets his politics, Dread Poetry and Freedom shows the significant role art can play in bringing about social change in times of dread.
Elizabeth Schroeder Schlabach examines the complexities of Black women’s work in policy gambling. Policy provided Black women with a livelihood for themselves and their families. At the same time, navigating gender expectations, aggressive policing, and other hazards of the infromal economy led them to refashion ideas about Black womanhood and respectability. Policy earnings also funded above-board enterprises ranging from neighborhood businesses to philanthropic institutions, and Schlabach delves into the various ways Black women straddled the illegal policy business and reputable community involvement.
Vivid and revealing, Dream Books and Gamblers tells the stories of Black women in the underground economy and how they used their work to balance the demands of living and laboring in Black Chicago.
As the story progresses, C. D. comes to understand how his personal losses and the losses of his cohort of hard driving executives on the make—especially the tragic life of his work partner, Greta Olsson, the only woman to break through into their male dominated world—are a result of the make-believe environment he has helped to create, a world where representation replaces reality. Hoping to piece together his faltering marriage and family relationships, C. D. must find a new path as he struggles to hold onto his dreams.
In this fictionalized version of the city of glittering lights, author Douglas Unger pits the ideologies of marketing and consumerism in the casino economy of America against the erosion of individual and humane values that success in that world demands. Unger reveals the hard truth that Las Vegas, a blue-collar town considered by many to be “the most honest city,” can be a temple for self-deceptions, emblematic of a service economy that knows the price of everything and too often the value of little else. Dream City becomes both a love song and an elegy for Las Vegas that sets it apart from any other literary novel previously written about this global entertainment attraction that in so many ways represents postmodern America. Sooner or later, the challenge that faces everyone is to discover what matters most, and to learn how to bet on the better angels of our natures.
By tracking American fantasies in Philippine movies from the postindependence period to the present, José B. Capino offers an innovative account of cinema's cultural work in decolonization and globalization. Capino examines how a third world nation's daydreams both articulate empire and mobilize against it, provide imaginary maps and fables of identity for its migrant workers and diasporan subjects, pose challenges to the alibis of patriarchy and nationalism, and open up paths for participating in the cultures of globality.
Through close readings of more than twenty Philippine movies, Capino demonstrates the postcolonial imagination's vital role in generating pragmatic and utopian visions of living with empire. Illuminating an important but understudied cinema, he creates a model for understanding the U.S. image in the third world.
By treating dreams as a mode for viewing, an analogy suggested by diverse ancient authors, Emma Scioli extracts new information from the poetry of Propertius, Tibullus, and Ovid about the Roman concept of “seeing” dreams. Through comparison with other visual modes of description, such as ekphrasis and simile, as well as with related types of visual experience, such as fantasy and voyeurism, Scioli demonstrates similarities between artist, dreamer, and poet as creators, identifying the dreamer as a particular type of both viewer and narrator.
It is the year 1972, and Riley Hartley finds that he, his family, community, and his faith are entirely indistinguishable from each other. He is eleven. A young woman named Lucy claims God has revealed to her that she is to live with Riley’s family. Her quirks are strangely disarming, her relentless questioning of their life incendiary and sometimes comical. Her way of taking religious practice to its logical conclusion leaves a strong impact on her hosts and propels Riley outside his observable universe toward a trajectory of self-discovery.
Set in Provo and New York City during the seventies and eighties, the story encapsulates the normal expectations of a Mormon experience and turns them on their head. The style, too, is innovative in how it employs as narrator “Zed,” one of the apocryphal Three Nephites who, with another immortal figure, the Wandering Jew of post-biblical legend, engage regularly in light-hearted banter and running commentary, animating the story and leavening the heartache with humor and tenderness.
'An exciting, astute analysis of how our capacity for desire has been slotted into the grooves of digital capitalism, and made to work for profit - from porn to Pokémon' - Richard Seymour
We are in the middle of a 'desirevolution' - a fundamental and political transformation of the way we desire as human beings. Perhaps as always, new technologies - with their associated and inherited political biases - are organizing and mapping the future. What we don't seem to notice is that the primary way in which our lives are being transformed is through the manipulation and control of desire itself.
Our very impulses, drives and urges are 'gamified' to suit particular economic and political agendas, changing the way we relate to everything from lovers and friends to food and politicians. Digital technologies are transforming the subject at the deepest level of desire - re-mapping its libidinal economy - in ways never before imagined possible.
From sexbots to smart condoms, fitbits to VR simulators and AI to dating algorithms, the 'love industries' are at the heart of the future smart city and the social fabric of everyday life. This book considers these emergent technologies and what they mean for the future of love, desire, work and capitalism.
Popular Hindi films offer varied cinematic representations ranging from realistic portraits of patriotic heroes to complex fantasies that go beyond escapism. In Dream Machine, Samir Dayal provides a history of Hindi cinema starting with films made after India’s independence in 1947. He constructs a decade-by-decade consideration of Hindi cinema’s role as a site for the construction of “Indianness.”
Dayal suggests that Hindi cinema functions as both mirror and lamp, reflecting and illuminating new and possible representations of national and personal identity, beginning with early postcolonial films including Awaara and Mother India, a classic of the Golden Age. More recent films address critical social issues, such as My Name is Khan and Fire, which concern terrorism and sexuality, respectively. Dayalalso chronicles changes in the industry and in audience reception, and the influence of globalization, considering such films as Slumdog Millionaire.
Dream Machine analyzes the social and aesthetic realism of these films concerning poverty and work, the emergence of the middle class, crime, violence, and the law while arguing for their sustained and critical attention to forms of fantasy.
Bringing together texts from Puerto Rican literature, history, and popular culture, Dream Nation shows how imaginings of national independence have served many competing purposes. They have given authority to the island’s literary and artistic establishment but have also been a badge of countercultural cool. These ideas have been fueled both by nostalgia for an imagined past and by yearning for a better future. They have fostered local communities on the island, and still helped define Puerto Rican identity within U.S. Latino culture.
In clear, accessible prose, Acosta Cruz takes us on a journey from the 1898 annexation of Puerto Rico to the elections of 2012, stopping at many cultural touchstones along the way, from the canonical literature of the Generación del 30 to the rap music of Tego Calderón. Dream Nation thus serves both as a testament to how stories, symbols, and heroes of independence have inspired the Puerto Rican imagination and as an urgent warning about how this culture has become detached from the everyday concerns of the island’s people.
A volume in the American Literature Initiatives series
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press