A SCHOLARLY BOOK REPOSITORY
Contributors: Osei-Mensah Aborampah, Niyi Afolabi, Patrick Bellegarde-Smith, Randy P. Conner, T. J. Desch-Obi, Ina Johanna Fandrich, Kean Gibson, Marilyn Houlberg, Nancy B. Mikelsons, Roberto Nodal, Rafael Ocasio, Miguel "Willie" Ramos, and Denise Ferreira da Silva
In this volume, some of the most innovative scholars of post 1980s Turkey address the complex ways that suburbanization and the growth of a globalized middle class have altered gender and class relations, and how Turkish society is being shaped and redefined through consumption. They also explore the increasingly polarized cultural politics between secularists and Islamists, and the ways that previously repressed Islamic elements have reemerged to complicate the idea of an "authentic" Turkish identity. Contributors examine a range of issues from the adjustments to religious identity as the Islamic veil becomes marketed as a fashion item, to the media's increased attention in Turkish transsexual lifestyle, to the role of folk dance as a ritualized part of public life. Fragments of Culture shows how attention to the minutiae of daily life can successfully unravel the complexities of a shifting society. This book makes a significant contribution to both modern Turkish studies and the scholarship on cross-cultural perspectives in Middle Eastern studies.
In this volume, some of the most innovative scholars of post 1980s Turkey address the complex ways that suburbanization and the growth of a globalized middle class have altered gender and class relations, and how Turkish society is being shaped and redefined through consumption. They also explore the increasingly polarized cultural politics between secularists and Islamists, and the ways that previously repressed Islamic elements have reemerged to complicate the idea of an "authentic" Turkish identity. Contributors examine a range of issues from the adjustments to religious identity as the Islamic veil becomes marketed as a fashion item, to the media's increased attention in Turkish transsexual lifestyle, to the role of folk dance as a ritualized part of public life. Fragments of Culture shows how attention to the minutiae of daily life can successfully unravel the complexities of a shifting society. This book makes a significant contribution to both modern Turkish studies and the scholarship on cross-cultural perspectives in Middle Eastern studies.
The death of her grandfather sets Neni Panourgiá and her readers on a path through the rituals of mourning and memory in modern urban Greece. Blending emotional richness and intellectual rigor, the anthropologist returns home in this exploration of kinship and identity within her own family and native city of Athens. What emerges is not only a new anthropological view of contemporary Greek culture, but also a reflective consideration of the self and subject.
Following men and women grappling with questions of mortality, Panourgiá moves through the streets and neighborhoods of Athens, seaside resorts and pistachio groves, the corridors and rooms of the Cancer Institute, wakes in apartments and observances in cemeteries. She mingles popular culture, venerable traditions, and contemporary theory as she considers how individuals define their identity as Athenians, as members of a family, as subjects of a polity, in sickness and in health, in death or in mourning. Memory is their guide as it negotiates their relationships with a personal, collective, and cultural past—and the memory of many deaths challenges and reaffirms, deconstructs and reconstructs who they are.
As intellectually ambitious as it is moving, Fragments of Death, Fables of Identity reconfigures the subject and object of anthropological study and recasts the line where experience ends and analysis begins.
---Isabella C. Bakker, York University
"Bergeron's pathbreaking analysis challenges orthodox development theories, questions current feminist economic thinking and highlights crucial new gendered challenges to globalization."
---Jane Parpart, Dalhousie University
"Cutting-edge scholarship. Bergeron deftly engages the complexity of current debates while retaining clarity, improving analyses, and illuminating alternatives."
---V. S. Peterson, University of Arizona
By tracing out the intersection between the imagined space of the national economy and the gendered construction of "expert" knowledge in development thought, Suzanne Bergeron provides a provocative analysis of development discourse and practice. By elaborating a framework of including/excluding economic subjects and activities in development economics, she provides a rich account of the role that economists have played in framing the contested political and cultural space of development.
Bergeron's account of the construction of the national economy as an object of development policy follows its shifting meanings through modernization and growth models, dependency theory, structural adjustment, and contemporary debates about globalization and highlights how intersections of nation and economy are based on gendered and colonial scripts. The author's analysis of development debates effectively demonstrates that critics of development who ignore economists' nation stories may actually bolster the formation they are attempting to subvert. Fragments of Development is essential reading for those interested in development studies, feminist economics, international political economy, and globalization studies.
An impassioned reminder to always question one’s beliefs, to have the courage to give up one’s illusions at the risk of one’s life, Fragments of Lives lays bare, with acute observations and biting wit, the falsity of the Soviet utopia that transformed Rossi’s home into a “huge Potemkin village, a farcical sham dissimulating oceans of mud and blood.”
Laughter in stitches.
The era of Old Comedy (ca. 485 – ca. 380 BC), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes, but there were many other poets whose comedies survive only in fragments. This new Loeb edition, the most extensive selection of the fragments available in English, presents the work of more than fifty-five poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad.
For each poet and play there is an introduction, and for many there are brief notes and recent bibliography. Also included are a selection of ancient testimonia to Old Comedy, nearly one hundred unattributed fragments (both book and papyri), and descriptions of thirty vase paintings illustrating Old Comic scenes. The texts are based on the monumental edition of Kassel and Austin, updated to reflect the latest scholarship. The complete Loeb Fragments of Old Comedy is in three volumes.
Laughter in stitches.
The era of Old Comedy (ca. 485 – ca. 380 BC), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes, but there were many other poets whose comedies survive only in fragments. This new Loeb edition, the most extensive selection of the fragments available in English, presents the work of more than fifty-five poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad.
For each poet and play there is an introduction, and for many there are brief notes and recent bibliography. Also included are a selection of ancient testimonia to Old Comedy, nearly one hundred unattributed fragments (both book and papyri), and descriptions of thirty vase paintings illustrating Old Comic scenes. The texts are based on the monumental edition of Kassel and Austin, updated to reflect the latest scholarship. The complete Loeb Fragments of Old Comedy is in three volumes.
Laughter in stitches.
The era of Old Comedy (ca. 485 – ca. 380 BC), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes, but there were many other poets whose comedies survive only in fragments. This new Loeb edition, the most extensive selection of the fragments available in English, presents the work of more than fifty-five poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad.
For each poet and play there is an introduction, and for many there are brief notes and recent bibliography. Also included are a selection of ancient testimonia to Old Comedy, nearly one hundred unattributed fragments (both book and papyri), and descriptions of thirty vase paintings illustrating Old Comic scenes. The texts are based on the monumental edition of Kassel and Austin, updated to reflect the latest scholarship. The complete Loeb Fragments of Old Comedy is in three volumes.
In an insightful assessment of the study and teaching of writing against the larger theoretical, political, and technological upheavals of the past thirty years, Fragments of Rationality questions why composition studies has been less affected by postmodern theory than other humanities and social science disciplines.
Taking as its subject the "intricately assembled, relentlessly disassembling metropolitan screen", it charts the virulent implosions of culture, the distortions and violence that give city-living its fractured and hallucinatory quality.
Provocatively written as a series of inter-locking poetic fragments, the text evokes the formation of metropolitan "identity" as it ricochets between the physical surface of the city and the vulnerable but manipulating consciousness of city dwellers.
Barber has discovered a powerful new vocabulary – a vocabulary charged with the visual and sonic impact of the cinema. Like the city, the text pulsates, creatively chaotic, raw and exhilarating.
Chronicles of a Caesarean partisan.
Sallust, Gaius Sallustius Crispus (86–35 BC), a Sabine from Amiternum, acted as tribune against Cicero and Milo in 52, joined Caesar after being expelled from the Senate in 50, was restored to the Senate by Caesar and took part in his African campaign as praetor in 46, and was then appointed governor of New Africa (Numidia). Upon his return to Rome he narrowly escaped conviction for malfeasance in office, retired from public life, and took up historiography. Sallust’s last work, the annalistic Histories in five books, is much more expansive than his monographs on Catiline and Jugurtha (LCL 116), treating the whole of Roman history at home and abroad in the post-Sullan age. Although fragmentary, it provides invaluable information and insight about a crucial period of history spanning the period from 78 to around 67 BC.
Although Sallust is decidedly unsubtle and partisan in analyzing people and events, his works are important and significantly influenced later historians, notably Tacitus. Taking Thucydides as his model but building on Roman stylistic and rhetorical traditions, Sallust achieved a distinctive style, concentrated and arresting; lively characterizations, especially in the speeches; and skill at using particular episodes to illustrate large general themes.
For this volume, which completes the Loeb Classical Library edition of Sallust’s works, John T. Ramsey has freshly edited the Histories and the two pseudo-Sallustian Letters to Caesar, supplying ample annotation.
In the first volume, Fragments, Tracy gathers his most important essays on broad theological questions, beginning with the problem of suffering across Greek tragedy, Christianity, and Buddhism. The volume goes on to address the Infinite, and the many attempts to categorize and name it by Plato, Aristotle, Rilke, Heidegger, and others. In the remaining essays, he reflects on questions of the invisible, contemplation, hermeneutics, and public theology. Throughout, Tracy evokes the potential of fragments (understood both as concepts and events) to shatter closed systems and open us to difference and Infinity. Covering science, literature, philosophy, psychoanalysis, and non-Western religious traditions, Tracy provides in Fragments a guide for any open reader to rethink our fragmenting contemporary culture.
Lost works by ancient Greece’s third great tragedian.
Eighteen of the ninety or so plays composed by Euripides between 455 and 406 BC survive in a complete form and are included in the preceding six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.
This edition, in a projected two volumes, offers the first complete English translation of the fragments together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.
Lost works by ancient Greece’s third great tragedian.
Eighteen of the ninety or so plays composed by Euripides between 455 and 406 BC survive in a complete form and are included in the preceding six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.
This edition, in a projected two volumes, offers the first complete English translation of the fragments together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.
Sheriff begins her inquiry with an appraisal of Fragonard criticism, followed by an extensive and thoroughly original reading of selected works by Fragonard and of the eroticism encoded in them. Art and eroticism converge in a discussion of execution, in which Sheriff explores the changing conception of execution and elucidates its complex rhetorical and cultural underpinnings. Drawing on analytic methods from contemporary critical theory and an understanding of each work's cultural milieu, Sheriff pays particular attention throughout to the relation between beholder and work of art, which she views as manifest in the artist's preoccupation with the play between the real and the fictive. Scholars and students of art history, eighteenth-century culture and history, critical theory, literary criticism, and all those drawn to the work of this great French painter will find this work essential reading.
More than an introduction to the postmodern, The Frame and the Mirror advances our understanding of the contemporary world by relating its features to the peculiar characteristics of collage. Ultimately, Brockelman shows how collage demands that we reinterpret modernity, conceiving of it as suspended between a loss of certainty and a new kind of knowledge about the human condition. In doing so, his work challenges many of the claims made in the name of postmodernism—and offers in their place a new and ironic view of the cultural space in which contemporary and historical events occur.
A nation's buildings are a record of the character and aspirations of its people. In a rich blend of social and architectural history, Abbott Lowell Cummings reconstructs, through text and pictures, the framed houses of Massachusetts Bay that reflect the straightforward honesty of our earliest northern settlers and their profound love of craftsmanship.
A substantial number of the nation's seventeenth-century houses have been preserved in Massachusetts, and Cummings provides illustrations for a majority of them. He describes the dwellings in detail, and includes architectural drawings that were especially commissioned for this book. He demonstrates that the builders were far more sophisticated than previously imagined and that, while maintaining their English timber-building traditions, they were astonishingly adaptable to their new environment.
Beyond the houses themselves, Cummings discusses evolutions in pioneer life. The most simple kinds of changes in architecture, Cummings shows, indicated singular changes in family living. Such additions as kitchens and parlors, or the moving of the master bedroom to a second floor, suggest shifts in the private and social lives of families.
The Framed Houses of Massachusetts Bay is a splendid story of innovations— of restless, migratory people and their architectural and social responses to the heavily forested New World. It is the first chapter in the long saga of America's preoccupation with technology as it affected the early American home.
Framed Narratives was first published in 1985. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The work of French philosophe Denis Diderot (1713-1784) has inspired conflicting reactions in those who encounter him. Diderot has been admired and despised; he has moved his readers and irritated them - often at the same time. His work continually shifts between mutually exclusive positions - neither of which provides an entirely satisfactory answer to the question at hand, yet neither of which can be disregarded. The nature of these paradoxes has been the fundamental problem in Diderot, a problem that his interpreters have approached by imagining synthetic perspectives or frames within which the paradoxes could be resolved.
In Framed Narratives, Jay Caplan focuses on the problem of framing in and of Diderot. He proposes an interpretive model that draws upon the notion of dialogue developed by Mikhail Bakhtin. For Bakhtin, no utterance can be reduced to a univocal meaning; one's discourse is always marked by other voices. In Diderot, Caplan shows, the narrative device of the tableau engages the reader (or beholder) in a dialogic relationship with the author and the characters. Diderot defines the players of those roles as members of a family, one of whom is always missing, and that sacrificial relationship becomes an integral part of the text. Caplan then uses the concept of the tableau to interpret the rhetoric of gender, genre, and pathos in Diderot's works for and about the theater, his novel The Nun, the philosophical dialogue D'Alembert's Dream,and his correspondence.
What emerges from these readings is not only an interpretation of certain texts, but a description of Diderot's—and, by implication, early bourgeois—poetics. Framed Narratives is, in addition, one of the first attempts to rely upon Bakhtin's concepts in the interpretation of specific texts, in this case the work of an essentially dialogic writer. A socio-historical supplement to Framed Narratives is provided in Jochen Schulte-Sasse's afterword.
Framed uses fin de siècle British crime narrative to pose a highly interesting question: why do female criminal characters tend to be alluring and appealing while fictional male criminals of the era are unsympathetic or even grotesque?
In this elegantly argued study, Elizabeth Carolyn Miller addresses this question, examining popular literary and cinematic culture from roughly 1880 to 1914 to shed light on an otherwise overlooked social and cultural type: the conspicuously glamorous New Woman criminal. In so doing, she breaks with the many Foucauldian studies of crime to emphasize the genuinely subversive aspects of these popular female figures. Drawing on a rich body of archival material, Miller argues that the New Woman Criminal exploited iconic elements of late nineteenth- and early twentieth-century commodity culture, including cosmetics and clothing, to fashion an illicit identity that enabled her to subvert legal authority in both the public and the private spheres.
"This is a truly extraordinary argument, one that will forever alter our view of turn-of-the-century literary culture, and Miller has demonstrated it with an enrapturing series of readings of fictional and filmic criminal figures. In the process, she has filled a gap between feminist studies of the New Woman of the 1890s and more gender-neutral studies of early twentieth-century literary and social change. Her book offers an extraordinarily important new way to think about the changing shape of political culture at the turn of the century."
---John Kucich, Professor of English, Rutgers University
"Given the intellectual adventurousness of these chapters, the rich material that the author has brought to bear, and its combination of archival depth and disciplinary range, any reader of this remarkable book will be amply rewarded."
---Jonathan Freedman, Professor of English and American Culture, University of Michigan
Elizabeth Carolyn Miller is Assistant Professor of English at the University of California, Davis.
digitalculturebooks is an imprint of the University of Michigan and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
Through innovative readings of a dozen movies made between 1928 and 2001 in Europe, Japan, and the United States, Orit Kamir shows that in representing “gender crimes,” feature films have constructed a cinematic jurisprudence, training audiences worldwide in patterns of judgment of women (and men) in such situations. Offering a novel formulation of the emerging field of law and film, Kamir combines basic legal concepts—murder, rape, provocation, insanity, and self-defense—with narratology, social science methodologies, and film studies.
Framed not only offers a unique study of law and film but also points toward new directions in feminist thought. Shedding light on central feminist themes such as victimization and agency, multiculturalism, and postmodernism, Kamir outlines a feminist cinematic legal critique, a perspective from which to evaluate the “cinematic legalism” that indoctrinates and disciplines audiences around the world. Bringing an original perspective to feminist analysis, she demonstrates that the distinction between honor and dignity has crucial implications for how societies construct women, their social status, and their legal rights. In Framed, she outlines a dignity-oriented, honor-sensitive feminist approach to law and film.
Challenging the classic horror frame in American film
American filmmakers appropriate the “look” of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In Frames of Evil: The Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame—the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide.
Using Schindler’s List, The Silence of the Lambs, and Apt Pupil as case studies, the authors provide substantive and critical analyses of these films that transcend the classic horror interpretation. For example, Schindler’s List, say Picart and Frank, has the appearance of a historical docudrama but actually employs the visual rhetoric and narrative devices of the Hollywood horror film. The authors argue that evil has a face: Nazism, which is configured as quintessentially innate, and supernaturally crafty.
Frames of Evil, which is augmented by thirty-six film and publicity stills, also explores the commercial exploitation of suffering in film and offers constructive ways of critically evaluating this exploitation. The authors suggest that audiences will recognize their participation in much larger narrative formulas that place a premium on monstrosity and elide the role of modernity in depriving millions of their lives and dignity, often framing the suffering of others in a manner that allows for merely “documentary” enjoyment.
In Frames of Friction, Carsten Junker maps out a dazzling panorama of critical cultural debatesfrom the twentieth century to explore the ways in which African American speakers and writers established their authority and gained recognition. Taking into account the latest ideas from gender studies and African American studies, as well as current essay theory, Junker juxtaposes the ways in which African American authors and speakers from the 1920s to the 1970s debated critical topics with their white and Jewish contemporaries in order to emphasize the dialogic nature of the essay form. Ultimately, Junker hones in on the genre of essay itself, arguing that it is repeatedly questioned and reconstituted during times of social change.
In this illuminating psychoanalysis of our media environment, Luke Hockley probes questions such as why we have genuine emotional responses to film events we know to be fictional, why we are compulsively driven to watch television, and how advertisers use unconscious motifs to persuade viewers.
Dr. Ehrhardt considers that New Testament teaching could benefit by being more closely related to its context and background than is often the case. He suggests that the method of the presentation of the Gospel is important, as well as the intention behind it.
In an examination of the background, Dr. Ehrhardt deals principally with two aspects. The first is the fact that the New Testament and the form Christianity took in the first few centuries after the death of Christ were subject to several influences. One of the most important was Greek and Dr. Ehrhardt traces Hellenistic influence in St. Paul's treatment of Christ, in Greek modes of thought in the preaching of the Gospel and the historical tradition in the Book of Acts. He then turns to Jewish and Roman practices and ideas which played a part in forming Church doctrine and ritual, such as ordination and baptism. Secondly, he discusses the daily life of the newly-converted Christians, the problems they met with and the changes that took place.
It is hoped that these essays, many of which aim at giving a fresh, rather than a final view, may prove stimulating by asking unfamiliar questions and offering new solutions.
Which stories attract attention and why? What strategies do journalists and campaigners use to persuade people and how do we respond? Answering these and other questions, Kitzinger demonstrates how media reporting can impact on people's knowledge of the 'facts', perceptions of risk, sense of appropriate policy responses and even how we interpret our own experiences.
Kitzinger examines feminist initiatives to challenge sexual violence, the emergence of incest as a social problem and the development of new survivor identities. She also explores stereotypes around sex offenders,interrogates protests against 'paedophiles-in-the-community' and presents a detailed analysis of the impact of scandals about disputed abuse accusations.
This book is essential reading for anyone interested in theories of media influence, identity and social change or who wishes to encourage responsible journalism. It is also a key resource for anyone concerned about sexual violence and the protection of children or who is attempting to design intervention strategies.
Most issues in American political life are complex and multifaceted, subject to multiple interpretations and points of view. How issues are framed matters enormously for the way they are understood and debated. For example, is affirmative action a just means toward a diverse society, or is it reverse discrimination? Is the war on terror a defense of freedom and liberty, or is it an attack on privacy and other cherished constitutional rights? Bringing together some of the leading researchers in American politics, Framing American Politics explores the roles that interest groups, political elites, and the media play in framing political issues for the mass public.
The contributors address some of the most hotly debated foreign and domestic policies in contemporary American life, focusing on both the origins and process of framing and its effects on citizens. In so doing, these scholars clearly demonstrate how frames can both enhance and hinder political participation and understanding.
From D.W. Griffith's The Birth of a Nation to Spike Lee's Malcolm X, Ed Guerrero argues, the commercial film industry reflects white domination of American society. Written with the energy and conviction generated by the new black film wave, Framing Blackness traces an ongoing epic—African Americans protesting screen images of blacks as criminals, servants, comics, athletes, and sidekicks.
These images persist despite blacks' irrepressible demands for emancipated images and a role in the industry. Although starkly racist portrayals of blacks in early films have gradually been replaced by more appealing characterizations, the legacy of the plantation genre lives on in Blaxpoitation films, the fantastic racialized imagery in science fiction and horror films, and the resubordination of blacks in Reagan-era films. Probing the contradictions of such images, Guerrero recalls the controversies surrounding role choices by stars like Sidney Poitier, Eddie Murphy, Whoopie Goldberg, and Richard Pryor.
Throughout his study, Guerrero is attentive to the ways African Americans resist Hollywood's one-dimensional images and superficial selling of black culture as the latest fad. Organizing political demonstrations and boycotts, writing, and creating their own film images are among the forms of active resistance documented.
The final chapter awakens readers to the artistic and commercial breakthrough of black independent filmmakers who are using movies to channel their rage at social injustice. Guerrero points out their diverse approaches to depicting African American life and hails innovative tactics for financing their work. Framing Blackness is the most up-to-date critical study of how African Americans are acquiring power once the province of Hollywood alone: the power of framing blackness.
In the series Culture and the Moving Image, edited by Robert Sklar.
Contributors present multiple lines of evidence demonstrating the process of social complexity and reconsider a number of traditionally accepted models and presumed tenets as a result of the wealth of empirical data that has been gathered over the past four decades. Their chapters approach complexity as a process rather than a state of being by exploring social aggregation, the emergence of ethnic affiliations, and aspects of regional and macroregional variability.
Framing Complexity in Formative Mesoamerica presents some of the most recent data—and the implications of that data—for understanding the development of complex societies as human beings moved into urban environments. The book is an especially important volume for researchers and students working in Mesoamerica, as well as archaeologists taking a comparative approach to questions of complexity.
Contributors: Jaime J. Awe, Sarah B. Barber, Jeffrey S. Brezezinski, M. Kathryn Brown, Ryan H. Collins, Kaitlin Crow, Lisa DeLance, Gary M. Feinman, Sara Dzul Gongora, Guy David Hepp, Arthur A. Joyce, Rodrigo Martin Morales, George Micheletti, Deborah L. Nichols, Terry G. Powis, Zoe J. Rawski, Prudence M. Rice, Michael P. Smyth, Katherine E. South, Jon Spenard, Travis W. Stanton, Wesley D. Stoner, Teresa Tremblay Wagner
"In some ways disease does not exist until we have agreed that it does, by perceiving, naming, and responding to it, " writes Charles E. Rosenberg in his introduction to this stimulating set of essays. Disease is both a biological event and a social phenomenon. Patient, doctor, family, and social institutions—including employers, government, and insurance companies—all find ways to frame the biological event in terms that make sense to them and serve their own ends.
Many diseases discussed here—endstage renal disease, rheumatic fever, parasitic infectious diseases, coronary thrombosis—came to be defined, redefined, and renamed over the course of several centuries. As these essays show, the concept of disease has also been used to frame culturally resonant behaviors: suicide, homosexuality, anorexia nervosa, chronic fatigue syndrome. Disease is also framed by public policy, as the cases of industrial disability and of forensic psychiatry demonstrate. Medical institutions, as managers of people with disease, come to have vested interests in diagnoses, as the histories of facilities to treat tuberculosis or epilepsy reveal. Ultimately, the existence and conquest of disease serves to frame a society's sense of its own "healthiness" and to give direction to social reforms.
The contributors include Steven J. Peitzman, Peter C. English, John Farley, Christopher Lawrence, Michael MacDonald, Bert Hansen, Joan Jacobs Brumberg, Robert A. Aronowitz, Gerald Markowitz, David Rosner, Janet A. Tighe, Barbara Bates, Ellen Dwyer, John M. Eyler, and Elizabeth Fee. For any student of disease and society, this book is essential, compelling reading.
Framing Fan Fiction deploys personal history and the interpretations of specific stories to contextualize fan fiction culture and its particular forms of intertextuality and performativity. In doing so, it highlights the way fans use fan fiction’s reimagining of the source material to explore issues of identities and peformativities, gender and sexualities, within a community of like-minded people. In contrast to the celebration of originality in many other areas of artistic endeavor, fan fiction celebrates repetition, especially the collective creation and circulation of tropes.
An essential resource for scholars, Framing Fan Fiction is also an ideal starting point for those new to the study of fan fiction and its communities of writers.
Alongside public health officials at the Centers for Disease Control and Prevention are advertisers of the fashion-beauty complex, food industry advocates at the Center for Consumer Freedom, and activists at the National Association to Advance Fat Acceptance.
Framing Fat takes a bird’s-eye view of how these multiple actors construct the fat body by identifying the messages these groups put forth, particularly where issues of beauty, health, choice and responsibility, and social justice are concerned. Samantha Kwan and Jennifer Graves examine how laypersons respond to these conflicting messages and illustrate the gendered, raced, and classed implications within them. In doing so, they shed light on how dominant ideas about body fat have led to the moral indictment of body nonconformists, essentially “framing” them for their fat bodies.
In this interdisciplinary cultural history that encompasses film, literature, music, and drama, Inez Hedges follows the thread of the Faustian rebel in the major intellectual currents of the last hundred years. She presents Faust and his counterpart Mephistopheles as antagonistic—yet complementary—figures whose productive conflict was integral to such phenomena as the birth of narrative cinema, the rise of modernist avant-gardes before World War II, and feminist critiques of Western cultural traditions.
Framing Faust: Twentieth-Century Cultural Struggles pursues a dialectical approach to cultural history. Using the probing lens of cultural studies, Hedges shows how claims to the Faustian legacy permeated the struggle against Nazism in the 1930s while infusing not only the search for socialist utopias in Russia, France, and Germany, but also the quest for legitimacy on both sides of the Cold War divide after 1945.
Hedges balances new perspectives on such well-known works as Thomas Mann’s Dr. Faustus and Jack Kerouac’s Dr. Sax with discussions of previously overlooked twentieth-century expressions of the Faust myth, including American film noir and the Faust films of Stan Brakhage. She evaluates musical compositions—Hanns Eisler’s Faust libretto, the opera Votre Faust by Henri Pousseur and Michel Butor, and Alfred Schnittke’s Faust Cantata—as well as works of fiction and drama in French and German, many of which have heretofore never been discussed outside narrow disciplinary confines.
Enhanced by twenty-four illustrations, Framing Faust provides a fascinating and focused narrative of some of the major cultural struggles of the past century as seen through the Faustian prism, and establishes Faust as an important present-day frame of reference.
As real women increasingly entered the professions from the 1970s onward, their cinematic counterparts followed suit. Women lawyers, in particular, were the protagonists of many Hollywood films of the Reagan-Bush era, serving as a kind of shorthand reference any time a script needed a powerful career woman. Yet a close viewing of these films reveals contradictions and anxieties that belie the films' apparent acceptance of women's professional roles. In film after film, the woman lawyer herself effectively ends up "on trial" for violating norms of femininity and patriarchal authority.
In this book, Cynthia Lucia offers a sustained analysis of women lawyer films as a genre and as a site where other genres including film noir, maternal melodrama, thrillers, action romance, and romantic comedy intersect. She traces Hollywood representations of female lawyers through close readings of films from the 1949 Adam's Rib through films of the 1980s and 1990s, including Jagged Edge, The Accused, and The Client, among others. She also examines several key male lawyer films and two independent films, Lizzie Borden's Love Crimes and Susan Streitfeld's Female Perversions. Lucia convincingly demonstrates that making movies about women lawyers and the law provides unusually fertile ground for exploring patriarchy in crisis. This, she argues, is the cultural stimulus that prompts filmmakers to create stories about powerful women that simultaneously question and undermine women's right to wield authority.
As Preda discovers through extensive research, the public was once much more skeptical. For investing to become accepted, a deep-seated prejudice against speculation had to be overcome, and Preda reveals that over the course of the eighteenth and nineteenth centuries groups associated with stock exchanges in New York, London, and Paris managed to redefine finance as a scientific pursuit grounded in observational technology. But Preda also notes that as the financial data in which they trafficked became ever more difficult to understand, charismatic speculators emerged whose manipulations of the market undermined the benefits of widespread investment. And so, Framing Finance ends with an eye on the future, proposing a system of public financial education to counter the irrational elements that still animate the appeal of finance.
A trenchant examination of the political dynamics of autobiography in education.
How do historically marginalized groups expose the partiality and presumptions of educational institutions through autobiographical acts? How are the stories we tell used to justify resistance to change or institutional complacency? These are the questions Wendy S. Hesford asks as she considers the uses of autobiography in educational settings. This book demonstrates how autobiographical acts-oral, written, performative, and visual-play out in vexed and contradictory ways and how in the academy they can become sites of cultural struggle over multicultural education, sexual harassment, institutional racism, hate speech, student activism, and commemorative practices.
Within the context of Oberlin, a small liberal arts college in Ohio, and beginning with a speak-out organized by Asian American students in 1995, this book looks at the uses of autobiographical practices in empowering groups traditionally marginalized in academic settings. Investigating the process of self-representation and the social, spatial, and discursive frames within which academic bodies and identities are constituted, Framing Identities explores the use of autobiographical acts in terms of power, influence, risks involved, and effectiveness. Hesford does not endorse autobiography as an unequivocal source of empowerment, however. Instead, she illustrates how autobiographical practices in the academy can mobilize competing and often irreconcilable interests. Hesford argues that by integrating self-reflection into cultural, rhetorical, and material analyses-and encouraging students to do the same-teachers not only will largely justify attention to the personal in the classroom, they will help their communities move beyond a naive identity politics. Framing Identities provides a model for teacher-researchers across the disciplines (education, English, composition, cultural studies, women’s studies, to name a few) to investigate the contradictory uses and consequences of autobiography at their own institutions, and to carve out new pedagogical spaces from which they and their students can emerge as social, political, and intellectual subjects.
Debates on immigrant integration often center on “national models of integration,” a concept that reflects the desire of both researchers and policy makers to find common ground. This book challenges the idea that there has ever been a coherent or consistent Dutch model of integration and asserts that though Dutch society has long been seen as exemplary for its multiculturalism—and argues that the incorporation of migrants remains one of the country’s most pressing social and political concerns. In addition to an analysis of how immigration is framed and reframed through diverse dialogues, the author provides a highly dynamic overview of integration policy and its evolution alongside migration research.
The authors analyze media coverage of several key immigration policy issues—including mass deportations, comprehensive immigration reform, and measures focused on immigrant children, such as the DREAM Act—to chart how news sources across the ideological spectrum produce specific “frames” for the immigration debate. In the past few years, liberal and mainstream outlets have tended to frame immigrants lacking legal status as “undocumented” (rather than “illegal”) and to approach the topic of legalization through human-interest stories, often mentioning children. Conservative outlets, on the other hand, tend to discuss legalization using impersonal statistics and invoking the rule of law. Yet, regardless of the media’s ideological positions, the authors’ surveys show that “negative” frames more strongly influence public support for different immigration policies than do positive frames. For instance, survey participants who were exposed to language portraying immigrants as law-breakers seeking “amnesty” tended to oppose legalization measures. At the same time, support for legalization was higher when participants were exposed to language referring to immigrants living in the United States for a decade or more.
Framing Immigrants shows that despite heated debates on immigration across the political aisle, the general public has yet to form a consistent position on undocumented immigrants. By analyzing how the media influences public opinion, this book provides a valuable resource for immigration advocates, policymakers, and researchers.
The canon of popular cinema has long been rife with fantastic tales, yet critical studies have too often expediently mixed the fantasy genre with its kindred science fiction and horror films or dismissed it altogether as escapist fare. Framing Monsters: Fantasy Film and Social Alienation reconsiders the cultural significance of this storytelling mode by investigating how films seemingly divorced from reality and presented in a context of timelessness are, in fact, encoded with the social practices and beliefs of their era of production.
Situating representative fantasy films within their cultural moments, Joshua David Bellin illustrates how fantastic visions of monstrous others seek to propagate negative stereotypes of despised groups and support invidious hierarchies of social control. In constructing such an argument, Framing Monsters not only contests dismissive attitudes toward fantasy but also challenges the psychoanalytic criticism that has thus far dominated its limited critical study.
Beginning with celebrated classics, Bellin locates King Kong (1933) within the era of lynching to evince how the film protects whiteness against supposed aggressions of a black predator and reviews The Wizard of Oz (1939) as a product of the Depression’s economic anxieties. From there, the study moves to the cult classic animated Sinbad Trilogy (1958–1977) of Ray Harryhausen, films rampant with xenophobic fears of the Middle East as relevant today as when the series was originally produced.
Advancing to more recent subjects, Bellin focuses on the image of the monstrous woman and the threat of reproductive freedom found in Aliens (1986), Jurassic Park (1993), and Species (1995) and on depictions of the mentally ill as dangerous deviants in 12 Monkeys (1996) and The Cell (2000). An investigation into physical freakishness guides his approach to Edward Scissorhands (1990) and Beauty and the Beast (1991). He concludes with a discussion of X-Men (2000) and Lord of the Rings (2001–2003), commercial giants that extend a recent trend toward critical self-reflection within the genre while still participating in the continuity of social alienation.
Written to enhance rather than undermine our understanding of fantastic cinema, Framing Monsters invites filmmakers, critics, and fans alike to reassess this tremendously popular and influential film type and the monsters that populate it.
Can Muslims ever fully be citizens of the West? Can the values of Islam ever be brought into accord with the individual freedoms central to the civic identity of Western nations? Not if you believe what you see on TV. Whether the bearded fanatic, the veiled, oppressed female, or the shadowy terrorist plotting our destruction, crude stereotypes permeate public representations of Muslims in the United States and western Europe. But these "Muslims" are caricatures—distorted abstractions, wrought in the most garish colors, that serve to reduce the diversity and complexity of the Muslim world to a set of fixed objects suitable for sound bites and not much else.
In Framing Muslims: Stereotyping and Representation after 9/11, Peter Morey and Amina Yaqin dissect the ways in which stereotypes depicting Muslims as an inherently problematic presence in the West are constructed, deployed, and circulated in the public imagination, producing an immense gulf between representation and a considerably more complex reality. Crucially, they show that these stereotypes are not solely the province of crude-minded demagogues and their tabloid megaphones, but multiply as well from the lips of supposedly progressive elites, even those who presume to speak "from within," on Muslims' behalf. Based on nuanced analyses of cultural representations in both the United States and the UK, the authors draw our attention to a circulation of stereotypes about Muslims that sometimes globalizes local biases and, at other times, brings national differences into sharper relief.
A collection of essays by prominent scholars from many disciplines on the construction of public memories
The study of public memory has grown rapidly across numerous disciplines in recent years, among them American studies, history, philosophy, sociology, architecture, and communications. As scholars probe acts of collective remembrance, they have shed light on the cultural processes of memory. Essays contained in this volume address issues such as the scope of public memory, the ways we forget, the relationship between politics and memory, and the material practices of memory.Stephen Browne’s contribution studies the alternative to memory erasure, silence, and forgetting as posited by Hannah Arendt in her classic Eichmann in Jerusalem. Rosa Eberly writes about the Texas tower shootings of 1966, memories of which have been minimized by local officials. Charles Morris examines public reactions to Larry Kramer’s declaration that Abraham Lincoln was homosexual, horrifying the guardians of Lincoln’s public memory. And Barbie Zelizer considers the impact on public memory of visual images, specifically still photographs of individuals about to perish (e.g., people falling from the World Trade Center) and the sense of communal loss they manifest.
Whether addressing the transitory and mutable nature of collective memories over time or the ways various groups maintain, engender, or resist those memories, this work constitutes a major contribution to our understanding of how public memory has been and might continue to be framed.
The notion of the frame in art can refer not only to a material frame bordering an image, but also to a conceptual frame. Both meanings are essential to how the work is perceived. In Framing Russian Art, art historian Oleg Tarasov investigates the role of the frame in its literal function of demarcating a work of art and in its conceptual function affectingthe understanding of what is seen.
The first part of the book is dedicated to the framework of the Russian icon. Here, Tarasov explores the historical and cultural meanings of the icon’s,setting, and of the iconostasis. Tarasov’s study then moves through Russian and European art from ancient times to the twentieth century, including abstract art and Suprematism. Along the way, Tarasov pays special attention to the Russian baroque period and the famous nineteenth century Russian battle painter Vasily Vereshchagin. This enlightening account of the cultural phenomenon of the frame and its ever-changing functions will appeal to students and scholars of Russian art history.
The aesthetics of frame theory form the basis of Framing Shakespeare on Film. This groundbreaking work expands on the discussion of film constructivists in its claim that the spectacle of Shakespeare on film is a problem-solving activity.
Kathy Howlett demonstrates convincingly how viewers’ expectations for understanding Shakespeare on film can be manipulated by the director’s cinematic technique. Emphasizing that the successful film can transform Shakespeare’s text while remaining rooted in Shakespearean conceptions, Howlett raises the question of how directors and audiences understand the genre of Shakespeare on film and reveals how the medium alters the patterns through which the audience views Shakespeare.
Raped and colonized, coerced and silenced--this has been the position of Haitian women within their own society, as well as how they have been seen by foreign occupiers. Romanticized symbols of nationhood, they have served, however unwillingly, as a politicized site of contestation between opposing forces.
In this first book-length study in English devoted exclusively to Haitian women's literature, Myriam Chancy finds that Haitian women have their own history, traditions, and stories to tell, tales that they are unwilling to suppress or subordinate to narratives of national autonomy. Issues of race, class, color, caste, nationality, and sexuality are all central to their fiction--as is an urgent sense of the historical place of women between the two U.S. occupations of the country. Their novels interrogate women's social and political stance in Haiti from an explicitly female point of view, forcefully responding to overt sexual and political violence within the nation's ambivalent political climate. Through daring and sensitive readings, simultaneously historical, fictional and autobiographical, Chancy explores this literature, seeking to uncover answers to the current crisis facing these women today, both within their country and in exile.The writers surveyed include Anne-christine d'Adesky, Ghislaine Rey Charlier, Marie Chauvet, Jan J. Dominique, Nadine Magloire, and Edwidge Danticat, whose work has recently achieved such high acclaim.
Framing the Audience explores the cultural politics of the Great Depression and World War II through the prism of art appreciation. Isadora Helfgott interrogates the ideological and political motivations for breaking down barriers between fine art and popular culture. She charts the impact that changes in art appreciation had on the broader political, social, cultural, and artistic landscape.
Framing the Audience argues that efforts to expand the social basis of art became intertwined with—and helped shape—broader debates about national identity and the future of American political economy. Helfgott chronicles artists’ efforts toinfluence the conditions of artistic production and display. She highlights the influence of the Federal Art Project, the impact of the Museum of Modern Art as an institutional home for modernism in America and as an organizer of traveling exhibitions, and the efforts by LIFE and Fortune magazines to integrate art education into their visual record of modern life. In doing so, Helfgott makes critical observations about the changing relationship between art and the American public.
While photographs are central to our memory of modern historical events, they often inhabit an ambivalent intellectual space. What separates the sincere desire to understand from voyeuristic curiosity? Comprehending atrocity photographs requires viewers to place themselves in the very positions of the perpetrators who took the images. When we engage with these photographs, do we risk replicating the original violence? In this tightly organized book, scholars of history, photography, language, gender, photojournalism, and pedagogy examine the images of the Šķēde atrocity along with other difficult images, giving historical, political, and ethical depth to the acts of looking and interpreting.
With a foreword by Edward Anders, who narrowly escaped the December 1941 shooting, Framing the Holocaust represents an original approach to an iconic series of Holocaust photographs. This book will contribute to compelling debates in the emerging field of visual history, including the challenges and responsibilities of using photographs to teach about atrocity.
This collection of essays was selected from those presented in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema." The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, political, and religious institutions that have influenced the historiography of German cinema and television.
Before the turn of the century, Germans began to employ the medium of film to represent the past when they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of personal, cultural, and national identity by consistently providing prominent treatment of historical subjects.
Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine precisely which factors have motivated those changes.
In attempting to define these factors, the link between German cinema, television, and history has developed around three interrelated issues: (1) the reception of Weimar cinema, which for most film scholars continues to be mediated to one extent or another by Siegfried Kracauer’s work; (2) the inscribing of fascism in cinema and television; and (3) the nature of, and potential for, alternatives to mainstream cinema and television.
As the subject of ideological, aesthetic, and existential manipulations, the Polish home and its representation is an ever-changing phenomenon that absorbs new tendencies and, at the same time, retains its centrality to Polish literature, whether written in Poland or abroad. Framing the Polish Home is a pioneering work that explores the idea of home as fundamental to the question of cultural and national identity within Poland's recent history and its tradition.
In this inaugural volume of the Polish and Polish-American Studies Series, the Polish home emerges in its rich verbal and visual representations and multiple material embodiments, as the discussion moves from the loss of the home during wartime to the Sovietized politics of housing and from the exilic strategies of having a home to the the idyllic evocation of the abodes of the past.
Although, as Bożena Shallcross notes in her introduction, “few concepts seem to have such universal appeal as the notion of the home,” this area of study is still seriously underdeveloped. In essays from sixteen scholars, Framing the Polish Home takes a significant step to correct that oversight, covering a broad range of issues pertinent to the discourse on the home and demonstrating the complexity of the home in Polish literature and culture.
In recent years, members of legal, law enforcement, media and academic circles have portrayed rape as a special kind of crime distinct from other forms of violence. In Framing the Rape Victim, Carine M. Mardorossian argues that this differential treatment of rape has exacerbated the ghettoizing of sexual violence along gendered lines and has repeatedly led to women’s being accused of triggering, if not causing, rape through immodest behavior, comportment, passivity, or weakness.
Contesting the notion that rape is the result of deviant behaviors of victims or perpetrators, Mardorossian argues that rape saturates our culture and defines masculinity’s relation to femininity, both of which are structural positions rather than biologically derived ones. Using diverse examples throughout, Mardorossian draws from Hollywood film and popular culture to contemporary women’s fiction and hospitalized birth emphasizing that the position of dominant masculinity can be occupied by men, women, or institutions, while structural femininity is a position that may define and subordinate men, minorities, and other marginalized groups just as effectively as it does women. Highlighting the legacies of the politically correct debates of the 1990s and the terrorist attacks of 9/11, the book illustrates how the framing of the term “victim” has played a fundamental role in constructing notions of agency that valorize autonomy and support exclusionary, especially masculine, models of American selfhood.
The gendering of rape, including by well-meaning, sometimes feminist, voices that claim to have victims’ best interests at heart, ultimately obscures its true role in our culture. Both a critical analysis and a call to action, Framing the Rape Victim shows that rape is not a special interest issue that pertains just to women but a pervasive one that affects our society as a whole.
In Framing the Sixties, Bernard von Bothmer examines this battle over the collective memory of the decade primarily through the lens of presidential politics. He shows how four presidents—Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush—each sought to advance his political agenda by consciously shaping public understanding of the meaning of "the Sixties." He compares not only the way that each depicted the decade as a whole, but also their commentary on a set of specific topics: the presidency of John F. Kennedy, Lyndon Johnson's "Great Society" initiatives, the civil rights movement, and the Vietnam War.
In addition to analyzing the pronouncements of the presidents themselves, von Bothmer draws on interviews he conducted with more than one hundred and twenty cabinet members, speechwriters, advisers, strategists, historians, journalists, and activists from across the political spectrum—from Julian Bond, Daniel Ellsberg, Todd Gitlin, and Arthur Schlesinger to James Baker, Robert Bork, Phyllis Schlafly, and Paul Weyrich.
It is no secret that the upheavals of the 1960s opened fissures within American society that have continued to affect the nation's politics and to intensify its so-called culture wars. What this book documents is the extent to which political leaders, left and right, consciously exploited those divisions by "framing" the memory of that turbulent decade to serve their own partisan interests.
Learn how Fran and Frederick Hamerstrom worked to save the greater prairie chicken from extinction in the Wisconsin Historical Society Press’s new book for young readers, "Fran and Frederick Hamerstrom: Wildlife Conservation Pioneers." Fran and Frederick grew up in New England, and married in 1935. They both loved nature and wanted to dedicate their lives to understanding and preserving wildlife. As students of the famous naturalist, Aldo Leopold, they learned about new ways for humans to think about saving land for animals. Fran was a brave, outgoing woman who cared more about interacting with animals than wearing pretty dresses. Frederick was a calm, thoughtful man who loved to study and conduct research. Together, they spent over thirty years mentoring many future scientists, and working to save the greater prairie chicken, and other animals, from extinction. "Fran and Frederick Hamerstrom: Wildlife Conservation Pioneers" is the newest addition to the Society Press’s Badger Biographies Series.
The decades following the French Revolution saw unprecedented political and social experimentation. As the Napoleonic and Restoration regimes attempted to build a stable order, ordinary city dwellers began to create their own sense of how society operated through everyday activities. Interactions between men and women--in theaters, cafes, and other public settings--helped to fashion new social norms.
In this extensively researched work, Denise Z. Davidson offers a powerful reevaluation of the effects of the French Revolution, especially on women. Arguing against the view that the Revolution forced women from the public realm of informed political discussion, Davidson demonstrates that women remained highly visible in urban public life. Women of all classes moved out of the domestic sphere to participate in the spectacle of city life, inviting frequent commentary on their behavior. This began to change only in the 1820s, when economic and social developments intensified class distinctions and made the bourgeoisie fear the "dangerous classes."
This book provides an important corrective to prevailing views on the ramifications of the French Revolution, while shedding light on how ordinary people understood, shaped, and contested the social transformations taking place around them.
An examination of the complicated history between France and Algeria since the latter’s independence.
While most related studies concentrate on the colonial era and Algeria's War of Independence, France and Algeria details the nations' postcolonial relationship. Phillip Naylor provides a philosophical approach, contending that France reformulated, rather than repudiated, “essential” strategic values during decolonization. It thus continued to pursue grandeur and independence, especially with regard to the Third World and Algeria, an essentialism that expedited France’s postcolonial transformation. But as a new nation, Algeria needed to pursue the “existential” project of self-definition. It became involved in state-building while also promulgating socialism, and it recognized how French oil concessions in the Sahara impeded its independence, leading to the industry's postcolonial decolonization. Finally, the postcolonial relationship has featured a human dimension involving immigrants, pieds-noirs (colonial settlers), and harkis (Algerian soldiers loyal to France), all of them central to bilateral relations.
In this revised and updated edition of his seminal work, first published over twenty years ago, Naylor expands his coverage of the decolonization era, drawing on new information while continuing to study the ever-evolving relationship between the two countries. These new additions expose the continually shifting relations of power, perception, and identity between the two states.
As I was coming up, it was painful to me not to have been given my own nickname. It made me feel different, or rather that I was being treated differently from other family members. I wondered why everybody else was spoken to in terms of their identity, their character, their behavior, and I was simply identified by the 'tag,' my given name. But then, when I read in a book that France meant free, I began to think of it as imbuing me with a sense of flight, of movement. Ultimately, I came to believe my name spoke for itself and that I did not need any other.'—from the book
Imbued with rich detail of family life in a rural community, as well as a system of values at a time of transition in American history, this is the life story of France Davis, the dynamic pastor of the Calvary Baptist Church in Salt Lake City. It is an engaging story of courage and vision that describes coming of age in the segregation-era South, of dreaming, enduring with honor, and living at the forefront of major issues within the United States.
Recorded and skillfully written by Nayra Atiya, France Davis: An American Story Told, is an oral history, ethnography, memoir, perhaps even a life-enhancing sermon delivered with the strong voice of a preacher. The gathered strands of a life lived with conviction and grace will appeal to a broad spectrum of readers from the curious to those seeking inspiration.
Winner of the Utah Book Award in Nonfiction.
The end of the nineteenth century in France was marked by political scandals, social unrest, dissension, and “decadence.” Yet the fin de siècle was also an era of great social and scientific progress, a time when advantages previously reserved for the privileged began to be shared by the many. Public transportation, electrical illumination, standard time, and an improved water supply radically altered the life of the modest folk, who found time for travel and leisure activities—including sports such as cycling. Change became the nature of things, and people believed that further improvement was not only possible but inevitable.
In this thoroughly engaging history, Eugen Weber describes ways of life, not as recorded by general history, but as contemporaries experienced them. He writes about political atmosphere and public prejudices rather than standard political history. Water and washing, bicycles and public transportation engage him more than great scientific discoveries. He discusses academic painting and poster art, the popular stage and music halls, at greater length than avant-garde and classic theater or opera. In this book the importance of telephones, plumbing, and central heating outranks such traditional subjects as international developments, the rise of organized labor, and the spread of socialism.
Weber does not neglect the darker side of the fin de siècle. The discrepancy between material advance and spiritual dejection, characteristic of our own times, interests him as much as the idea of progress, and he reminds us that for most people the period was far from elegant. In the lurid context of military defeat, political instability, public scandal, and clamorous social criticism, one had also to contend with civic dirt, unsanitary food, mob violence, and the seeds of modern-day scourges: pollution, drugs, sensationalism, debased art, the erosion of moral character. Yet millions of fin de siècle French lived as only thousands had lived fifty years before; while their advance was slow, their right to improvement was conceded.
A panorama of a whole civilization, a world on the verge of cataclysm, unfolds in this magisterial work by the foremost historian of eighteenth-century France. Since Tocqueville’s account of the Old Regime, historians have struggled to understand the social, cultural, and political intricacies of this efflorescence of French society before the Revolution. France in the Enlightenment is a brilliant addition to this historical interest.
France in the Enlightenment brings the Old Regime to life by showing how its institutions operated and how they were understood by the people who worked within them. Daniel Roche begins with a map of space and time, depicting France as a mosaic of overlapping geographical units, with people and goods traversing it to the rhythms of everyday life. He fills this frame with the patterns of rural life, urban culture, and government institutions. Here as never before we see the eighteenth-century French “culture of appearances”: the organization of social life, the diffusion of ideas, the accoutrements of ordinary people in the folkways of ordinary living—their food and clothing, living quarters, reading material. Roche shows us the eighteenth-century France of the peasant, the merchant, the noble, the King, from Paris to the provinces, from the public space to the private home.
By placing politics and material culture at the heart of historical change, Roche captures the complexity and depth of the Enlightenment. From the finest detail to the widest view, from the isolated event to the sweeping trend, his masterly book offers an unparalleled picture of a society in motion, flush with the transformation that will be its own demise.
Cohen examines the developments in urban design and architecture within France, depicting the continuities and breaks in French architecture since 1900 against a broader international background. Describing the systems of architectural exchange with other countries—including Italy, Germany, Russia, and the United States—he offers a new view on the ideas, projects, and buildings otherwise so often considered only from narrow nationalistic perspectives. Cohen also maps the problematic search for a national identity against the background of European rivalries and France’s colonial past. Drawing on a wealth of recent research, this authoritatively written book will challenge the way design professionals and historians view modern French architecture.
Frances Burney and Narrative Prior to Ideology works between Burney’s Journals and Letters and her fiction more thoroughly than any study of her in the past twenty-five years. By doing so, it offers significant reinterpretations of Burney’s four novels: Evelina, Cecilia, Camilla, and The Wanderer. It describes Burney’s eluding the major modern–isms through which critics have tried to read her: Feminism (with its “gendering” of beauty and reversal of gender roles); Capitalism and its Marxist critique (here the details of Burney’s housekeeping become important); Professionalism (as a response to status inconsistency and class conflict); and Ian Watt’s “Formal Realism” (Burney perhaps saved the novel from a sharp decline it suffered in the 1770s, even as she tried to distance herself from the genre).
Burney’s most successful writing appeared before the coining of “ideology.” But her standing “prior to ideology” is not a matter of chronological accident. Rather, she quietly but forcefully resisted shared explanations—domesticity as model for household management, debt as basis for family finance, professional status as a means to social confidence, the novel as the dominant literary genre—that became popular during her long and eventful life.
Frederic Jameson has described Paul de Man, “in private conversation,” claiming, “Marxism . . . has no way of understanding the eighteenth century.” Frances Burney and Narrative Prior to Ideology conjoins Burney’s “eighteenth-centuryness” with her modernity.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Hugely successful in her own time for adult novels and plays, Frances Hodgson Burnett (1849-1924) would be astounded to find out she is remembered for a handful of books for children, but most of all for the enormously popular Secret Garden. This fascinating biography-the first to have the full cooperation of Burnett's descendants and relatives-examines her life with lively intelligence, sensitivity, and fascinating new, never-before-published material.
Burnett's life was full of those reversals of fortune that mark her work. Following modest beginnings in mid-Victorian Manchester, she arrived in post-Civil War Tennessee at the age of fifteen with her widowed mother and two sisters. Burnett was the breadwinner of the family from the age of seventeen, eventually publishing a total of fifty-two books and writing and producing thirteen plays. She made and spent a fortune in her lifetime, was generous and profligate, yet anxious about money and obsessively hardworking.
Constantly restless and inventive, Burnett's personal life was as complex as her professional one. Her first marriage to a southern doctor disintegrated as a result of her notorious flirtations and a scandalous affair, and her subsequent marriage to an English doctor turned actor suffered a similar fate. She understood the intensity and loneliness of the thoughtful child, but was herself a largely absent mother of two sons-overwhelmed by guilt when tragedy struck one of them; the other one never got over being the model for Little Lord Fauntleroy.
A woman of contrasts and paradoxes, this quintessentially British writer was equally at home in the United States, which honored her with a memorial in Central Park. Frances Hodgson Burnett reinvented for herself and for generations to come in both countries the magic and the mystery of the childhood she never had.
At the end of World War II, France’s greatest challenge was to repair a civil society torn asunder by Nazi occupation and total war. Recovery required the nation’s complete economic and social transformation. But just what form this “new France” should take remained the burning question at the heart of French political combat until the Algerian War ended, over a decade later. Herrick Chapman charts the course of France’s long reconstruction from 1944 to 1962, offering fresh insights into the ways the expansion of state power, intended to spearhead recovery, produced fierce controversies at home and unintended consequences abroad in France’s crumbling empire.
Abetted after Liberation by a new elite of technocratic experts, the burgeoning French state infiltrated areas of economic and social life traditionally free from government intervention. Politicians and intellectuals wrestled with how to reconcile state-directed modernization with the need to renew democratic participation and bolster civil society after years spent under the Nazi and Vichy yokes. But rather than resolving the tension, the conflict between top-down technocrats and grassroots democrats became institutionalized as a way of framing the problems facing Charles de Gaulle’s Fifth Republic.
Uniquely among European countries, France pursued domestic recovery while simultaneously fighting full-scale colonial wars. France’s Long Reconstruction shows how the Algerian War led to the further consolidation of state authority and cemented repressive immigration policies that now appear shortsighted and counterproductive.
This first biographical and literary assessment of Frances Newman highlights one of the most experimental writers of the Southern Renaissance
Frances Newman was born into a prominent Atlanta family and was educated at private schools in the South and the Northeast. Her first novel, The Hard-Boiled Virgin, was hailed by James Branch Cabell as “the most brilliant, the most candid, the most civilized, and the most profound yet written by any American woman.” Cabell and H. L. Mencken became Newman’s literary mentors and loyally supported her satire of southern culture, which revealed the racism, class prejudice, and religious intolerance that reinforced the idealized image of the white southern lady. Writing within a nearly forgotten feminist tradition of southern women’s fiction, Newman portrayed the widely acclaimed social change in the early part of the century in the South as superficial rather than substantial, with its continued restrictive roles for women in courtship and marriage and limited educational and career opportunities.
Barbara Wade explores Newman’s place in the feminist literary tradition by comparing her novels with those of her contemporaries Ellen Glasgow, Mary Johnston, and Isa Glenn. Wade draws from Newman’s personal correspondence and newspaper articles to reveal a vibrant, independent woman who simultaneously defied and was influenced by the traditional southern society she satirized in her writing.
Suzanne G. Cusick argues that Caccini’s career depended on the usefulness of her talents to the political agenda of Grand Duchess Christine de Lorraine, Tuscany’s de facto regent from 1606 to 1636. Drawing on Classical and feminist theory, Cusick shows how the music Caccini made for the Medici court sustained the culture that enabled Christine’s power, thereby also supporting the sexual and political aims of its women.
In bringing Caccini’s surprising story so vividly to life, Cusick ultimately illuminates how music making functioned in early modern Italy as a significant medium for the circulation of power.
A cultivated patrician, a prolific playwright, and a passionate student of local antiquity, Francesco Ignazio Lazzari (1634–1717) was a mainstay of the artistic and intellectual life of Città di Castello, an Umbrian city that maintained a remarkable degree of cultural autonomy during the early modern period. He was also the first author to identify the correct location of the lost villa “in Tuscis” owned by the Roman writer and statesman Pliny the Younger and known through his celebrated description. Lazzari’s reconstruction of this ancient estate, in the form of a large-scale drawing and a textual commentary, adds a unique document to the history of Italian gardens while offering a fascinating perspective on the role of landscape in shaping his native region’s identity.
Published with an English translation for the first time since its creation, this manuscript is framed by the scholarly contributions of Anatole Tchikine and Pierre de la Ruffinière du Prey. At the core of their discussion is the interplay of two distinct ideas of antiquity—one embedded in the regional landscape and garden culture of Umbria and the other conveyed by the international tradition of Plinian architectural reconstructions—that provide the essential context for understanding Lazzari’s work.
Peter M. Birkeland worked for three years in the front-line operations of franchise units for three companies, met with CEOs and executives, and attended countless trade shows, seminars, and expositions. All this firsthand experience gave him unprecedented access to the hopes and aspirations of franchisees. His book closely traces different franchisees and follows them as their dreams of wealth and independence buckle beneath the weight of frustrating logistics and contractual technicalities. Through extensive interviews and research, Birkeland not only discovers what makes franchisees succeed or fail, he uncovers the difficulties in running a business according to someone else's system and values. Bearing witness to a market flooded with fierce competitors and dependent on the inscrutable whims of consumers, he uncovers the numerous challenges that franchisees face in making their businesses succeed.
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individual—which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer.
It is also, most challengingly, an explanation of what Bacon’s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Bacon’s work is founded upon the way that each of us carves our identity, our “self,” from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts “art,” and ourselves as individuals.
Afterword by Tom Conley
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters.
In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art.
In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. Francis Bacon is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole.
Gilles Deleuze (1925–1995) was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored Anti-Oedipus and A Thousand Plateaus with Félix Guattari. These works, as well as Cinema 1, Cinema 2, The Fold, Proust and Signs, and others, are published in English by Minnesota.
Daniel W. Smith teaches in the Department of Philosophy at Purdue University.
However, Jeff Menne argues that Coppola exemplifies the new breed of creative corporate person and sees the director's oeuvre as vital for reimagining the corporation in the transformation of Hollywood.
Reading auteur theory as the new American business theory, Menne reveals how Coppola's vision of a new kind of company has transformed the worker into a liberated and well-utilized artist, but has also commodified individual creativity at a level unprecedented in corporate history. Coppola negotiated the contradictory roles of shrewd businessman and creative artist by recognizing the two roles are fused in a postindustrial economy.
Analyzing films like The Godfather (1970) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family--and how his studio American Zoetrope came to represent a new brand of auteurism and the model for post-Fordist Hollywood.
This book is an accessible biography of Francis of Assisi, founder of the Franciscan religious order and one of the most venerated figures in Christianity. In it, Michael F. Cusato explores how Francis and his early brothers embraced a life of poverty in solidarity with the lowest ranks of society, preaching a message of justice and dignity for all. He examines how and why Francis’s vision ultimately expanded to embrace non-Christians and Muslims in particular following Francis’s celebrated encounter with the Sultan al-Malik al-Kamil in 1219. Finally, Cusato considers the clash between Francis and newer members of his Order, his reception of the stigmata, and his final years defending his vision among his own brothers, all while living as an exemplar of the gospel life.
Best known as author of The Oregon Trail, Francis Parkman is now increasingly recognized as one of the greatest nineteenth–century American historians. In Pontiac, Pioneers, La Salle and Montcalm and Wolfe, Parkman, more than anyone else, first grasped the tragic element implicit in our pioneer heritage and placed the opening up of the great North American wilderness in broad historical perspective.
Handsome, brilliant, courageous, Parkman drove himself relentlessly. The result was a severe breakdown in his twenties, complicated in later years by other illnesses. This interpretative biography chronicles his triumph over these setbacks and sheds new light on the impressive histories that seem to become ever more contemporary with the passage of time.
A historian who lived the kind of history he wrote, Francis Parkman is a major—and controversial—figure in American historiography. His narrative style, while popular with readers wanting a "good story," has raised many questions with professional historians. Was Parkman writing history or historical fiction? Did he color historical figures with his own heroic self-image? Was his objectivity compromised by his "unbending, conservative, Brahmin" values? These are some of the many issues that Wilbur Jacobs treats in this thought-provoking study.
Jacobs carefully considers the "apprenticeship" of Francis Parkman, first spent in facing the rigors of the Oregon Trail and later in struggling to write his histories despite a mysterious, frequently incapacitating illness. He shows how these events allowed Parkman to create a heroic self-image, which impelled his desire for fame as a historian and influenced his treatment of both the "noble" and the "savage" characters of his histories.
In addition to assessing the influence of Parkman's development and personality on his histories, Jacobs comments on Parkman's relationship to basic social and cultural issues of the nineteenth century. These include the slavery question, Native American issues, expansion of the suffrage to new groups, including women, and anti-Catholicism.
"This is a book that anyone interested in South Carolina history, the emergence of the New South, and the southern press, so important to the regional culture, will find valuable. Clark has researched all the important manuscript collections and a wide variety of other sources. He also writes in a style that is lucid and imaginative." —Journal of Southern History
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