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.
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.
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:
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.
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.
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.
The Worship and Love of God is one of the most unusual writings of Swedish scientist and theologian Emanuel Swedenborg (1688-1772). A "poetical novel," it dramatizes the Creation and examines the life of Adam and Eve as the first truly united couple. Considered Swedenborg's last work before he embarked on his visionary period, the manuscript was left unfinished by its author and published only after his death.
Inge Jonsson, one of the world's leading scholars on Swedenborg's works, offers a scholarly look into a neglected literary achievement. He examines this unique work from the perspective of sources and influences. The literary genre f hexaemeron, ancient and modern philosophy, and scientific discoveries in the seventeenth and eighteenth centuries come into play in Swedenborg's richly imagined and beautifully articulated world. Yet The Worship and Love of God also offers an intriguing glimpse into Swedenborg's future as a biblical exegete and revelator.
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 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.
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.
Moss Hart once said that you never really learn how to write a play; you only learn how to write this play. Crafted with that adage in mind, The Dramatic Writer’s Companion is designed to help writers explore their own ideas in order to develop the script in front of them. No ordinary guide to plotting, this handbook starts with the principle that character is key. “The character is not something added to the scene or to the story,” writes author Will Dunne. “Rather, the character is the scene. The character is the story.”
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.
Dunne’s own experience is a crucial element of this guide. His plays have been selected by the Eugene O’Neill Theatre Center for three U.S. National Playwrights Conferences and have earned numerous honors, including a Charles MacArthur Fellowship, four Bay Area Theatre Critics Circle Awards, and two Drama-Logue Playwriting Awards. Thousands of individuals have already benefited from his workshops, and The Dramatic Writer’s Companion promises to bring his remarkable creative method to an even wider audience.
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.
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 Tragedy makes 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.
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.
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
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
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.
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?
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
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.
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.
The dream of “progress” that animated many nineteenth-century artistic and political movements gave way at the turn of the century to a dissatisfaction with the Industrial Civilization and a recurrent pessimism about a future dominated by mechanization. Art Nouveau, which was both a style and a movement, embodied this dissatisfaction, marking the turn-of-the-century period with an aesthetic that consciously set out to revolutionize literature, the arts, and society within the framework of a brutalizing, wildly burgeoning Industrial Civilization. Generally associated with northern European culture, Art Nouveau also had a great impact in the south, particularly in Spain.
A Dream of Arcadia is the first work to explore Spain’s fertile and imaginative Art Nouveau. Through the eyes of four major Spanish writers, Lily Litvak views several different aspects of the turn-of-the-century struggle against the advances of industrialism in Spain. Her interpretation of the early works of Ramón del Valle Inclán, Miguel de Unamuno, José Martínez Ruiz (Azorín), and Pío Baroja exposes a longing for a preindustrial arcadia based on a return to nature, the revival of handicrafts and medieval art, an attraction to rural primitive societies, and a revulsion against the modern city. Set against the European literary and artistic background of the period, her observations place the Spanish manifestations of Art Nouveau within the context of the better-known northern phenomena. Of particular interest is her discussion of the influences of John Ruskin, William Morris, and the Pre-Raphaelites, which demonstrates how the general European mood was articulated in Spain.
Litvak concludes that Valle Inclán, Unamuno, Azorín, and Baroja must be considered as more than simply fin de siècle writers, for they became part of a general movement, generated by Art Nouveau, that spans an entire century. A Dream of Arcadia demonstrates that Art Nouveau was more than a flash on Europe's artistic horizon; it is a philosophy with ramifications that have led to communes, handcrafted articles, and nomadic adolescents in search of truth.
The idea of "the great American novel" continues to thrive almost as vigorously as in its nineteenth-century heyday, defying 150 years of attempts to dismiss it as amateurish or obsolete. In this landmark book, the first in many years to take in the whole sweep of national fiction, Lawrence Buell reanimates this supposedly antiquated idea, demonstrating that its history is a key to the dynamics of national literature and national identity itself.
The dream of the G.A.N., as Henry James nicknamed it, crystallized soon after the Civil War. In fresh, in-depth readings of selected contenders from the 1850s onward in conversation with hundreds of other novels, Buell delineates four "scripts" for G.A.N. candidates. One, illustrated by The Scarlet Letter, is the adaptation of the novel's story-line by later writers, often in ways that are contrary to the original author's own design. Other aspirants, including The Great Gatsby and Invisible Man, engage the American Dream of remarkable transformation from humble origins. A third script, seen in Uncle Tom's Cabin and Beloved, is the family saga that grapples with racial and other social divisions. Finally,mega-novels from Moby-Dick to Gravity's Rainbow feature assemblages of characters who dramatize in microcosm the promise and pitfalls of democracy.
The canvas of the great American novel is in constant motion, reflecting revolutions in fictional fashion, the changing face of authorship, and the inseparability of high culture from popular. As Buell reveals, the elusive G.A.N. showcases the myth of the United States as a nation perpetually under construction.
While political liberals celebrated the end of “cowboy politics” with the election of Barack Obama to the presidency, political conservatives in the Tea Party and other like-minded groups still vociferously support “cowboy” values such as small government, low taxes, free-market capitalism, and the right to bear arms. Yet, as Douglas Brode argues in this paradigm-shifting book, these supposedly cowboy or “Old West” values hail not so much from the actual American frontier of the nineteenth century as from Hollywood’s portrayal of it in the twentieth century. And a close reading of Western films and TV shows reveals a much more complex picture than the romanticized, simplistic vision espoused by the conservative right.
Examining dozens of Westerns, including Gunfight at the O.K. Corral, Red River, 3:10 to Yuma (old and new), The Wild Ones, High Noon, My Darling Clementine, The Alamo, and No Country for Old Men, Brode demonstrates that the genre (with notable exceptions that he fully covers) was the product of Hollywood liberals who used it to project a progressive agenda on issues such as gun control, environmental protection, respect for non-Christian belief systems, and community cohesion versus rugged individualism. Challenging us to rethink everything we thought we knew about the genre, Brode argues that the Western stands for precisely the opposite of what most people today—whether they love it or hate it—believe to be the essential premise of “the only truly, authentically, and uniquely American narrative form.”
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