Laboring in the Shadow of Empire: Race, Gender and Care Work in Portugal examines the everyday lives of an African descendant care service workforce that labors in an ostensibly “anti-racial” Europe and against the backdrop of the Portuguese colonial empire. While much of the literature on global care work has focused on Asian and Latine migrant care workers, there is comparatively less research that explicitly examines African care workers and their migration histories to Europe. Sociologist Celeste V. Curington focuses on Portugal—a European setting with comparatively liberal policies around family settlement and naturalization for migrants. In this setting, rapid urbanization in the late twentieth century, along with a national push to reconcile work and family, have shaped the growth of paid home care and cleaning service industries. Many researchers focus on informal work settings where immigrant rights are restricted, and many workers are undocumented or without permanent residence status. Curington instead examined workers who have accessed citizenship or permanent residence status and also explores African women’s experiences laboring in care and service industries in the formal market, revealing how deeply colonial and intersectional logics of a racialized and international division of reproductive labor in Portugal render these women “hyper-invisible” and “hyper-visible” as “appropriate” workers in Lisbon.
In addition to population and industrial censuses, Hutchison culls published and archival sources to illuminate such misconceptions and to reveal how women’s paid labor became a locus of anxiety for a society confronting social problems—both real and imagined—that were linked to industrialization and modernization. The limited options of working women were viewed by politicians, elite women, industrialists, and labor organizers as indicative of a society in crisis, she claims, yet their struggles were also viewed as the potential springboard for reform. Labors Appropriate to Their Sex thus demonstrates how changing norms concerning gender and work were central factors in conditioning the behavior of both male and female workers, relations between capital and labor, and political change and reform in Chile.
This study will be rewarding for those whose interests lie in labor, gender, or Latin American studies; as well as for those concerned with the histories of early feminism, working-class women, and sexual discrimination in Latin America.
A forceful intellectual history, Labor's End challenges entrenched assumptions about automation's transformation of the American workplace.
How work and capitalism inspire horror in modern film.
American ideals position work as a source of pride, opportunity, and meaning. Yet the ravages of labor are constant grist for horror films. Going back decades to the mad scientists of classic cinema, the menial motel job that prepares Norman Bates for his crimes in Psycho, and the unemployed slaughterhouse workers of The Texas Chain Saw Massacre, horror movies have made the case that work is not so much a point of pride as a source of monstrosity.
Editors Aviva Briefel and Jason Middleton assemble the first study of horror’s critique of labor. In the 1970s and 1980s, films such as The Shining and Dawn of the Dead responded to deindustrialization, automation, globalization, and rising numbers of women in the workforce. Labors of Fear explores these critical issues and extends them in discussions of recent works such as The Autopsy of Jane Doe, Midsommar, Survival of the Dead, It Follows, Get Out, and Us. Covering films ranging from the 1970s onward, these essays address novel and newly recognized modes and conditions of labor: reproductive labor, emotion work and emotional labor, social media and self-branding, intellectual labor, service work, precarity, and underemployment. In its singular way, horror continues to make spine-tingling sense of what is most destructive in the wider sociopolitical context of US capitalism.
In seventeenth-century England, intellectuals of all kinds discovered their idealized self-image in the Adam who investigated, named, and commanded the creatures. Reinvented as the agent of innocent curiosity, Adam was central to the project of redefining contemplation as a productive and public labor. It was by identifying with creation’s original sovereign, Joanna Picciotto argues, that early modern scientists, poets, and pamphleteers claimed authority as both workers and “public persons.”
Tracking an ethos of imitatio Adami across a wide range of disciplines and devotions, Picciotto reveals how practical efforts to restore paradise generated the modern concept of objectivity and a novel understanding of the author as an agent of estranged perception. Finally, she shows how the effort to restore Adam as a working collective transformed the corpus mysticum into a public. Offering new readings of key texts by writers such as Robert Hooke, John Locke, Andrew Marvell, Joseph Addison, and most of all John Milton, Labors of Innocence in Early Modern England advances a new account of the relationship between Protestantism, experimental science, the public sphere, and intellectual labor itself.
This study confronts the double paradox of state-regulated labor migration: while markets benefit from open borders that allow them to meet the demand for migrant workers, the boundaries of citizenship impose a degree of limitation on cross-border migration. At the same time, the exclusivity of citizenship requires closed membership, yet civil and human rights undermine the state’s capacity to exclude foreigners once they are inside the country. By considering how Malaysia and Spain have responded to the demand for foreign labor, this book analyzes the unavoidable clash of markets, citizenship, and rights.
The French psychoanalyst Jacques Lacan (1901–1981) is a uniquely complex writer and the originator of an especially unsettling view of the human subject. But the singularity of Lacan’s achievement has been understated by many of his critics. Often he is seen merely as a figure famous for being famous—an essential reference point in structuralist and poststructuralist debate—rather than as a theorist whose writings demand and reward detailed scrutiny.
Malcolm Bowie traces the development of Lacan’s ideas over the fifty-year span of his writing and teaching career. The primary focus is on the fascinating mutations in Lacan’s interpretation of Freud. Bowie reinserts the celebrated slogans—“The unconscious is the discourse of the Other,” “The unconscious is structured like a language,” and so forth—into the history of Lacan’s thinking, and pinpoints the paradoxes and anomalies that mark his account of human sexuality. This book provides a firm basis for the critical evaluation of Lacan’s ideas and the rhetoric in which they are embedded; it is based on a close reading of Lacan’s original texts but presupposes no knowledge of French in the reader.
Although Bowie is sharply critical of Lacan on several major analytic questions, he argues that Lacan is the only psychoanalyst after Freud whose intellectual achievement is seriously comparable to Freud’s own. Lacan provides the ideal starting point for any exploration of the work of this formidable thinker.
Lacan in Public argues that Lacan’s contributions to the theory of rhetoric are substantial and revolutionary and that rhetoric is, in fact, the central concern of Lacan’s entire body of work.
On virtue in education and argumentation.
Plato, the great philosopher of Athens, was born in 427 BC. In early manhood an admirer of Socrates, he later founded the famous school of philosophy in the grove Academus. Much else recorded of his life is uncertain; that he left Athens for a time after Socrates’ execution is probable; that later he went to Cyrene, Egypt, and Sicily is possible; that he was wealthy is likely; that he was critical of “advanced” democracy is obvious. He lived to be 80 years old. Linguistic tests including those of computer science still try to establish the order of his extant philosophical dialogues, written in splendid prose and revealing Socrates’ mind fused with Plato’s thought.
In Laches, Charmides, and Lysis, Socrates and others discuss separate ethical conceptions. Protagoras, Ion, and Meno discuss whether righteousness can be taught. In Gorgias, Socrates is estranged from his city’s thought, and his fate is impending. The Apology (not a dialogue), Crito, Euthyphro, and the unforgettable Phaedo relate the trial and death of Socrates and propound the immortality of the soul. In the famous Symposium and Phaedrus, written when Socrates was still alive, we find the origin and meaning of love. Cratylus discusses the nature of language. The great masterpiece in ten books, the Republic, concerns righteousness (and involves education, equality of the sexes, the structure of society, and abolition of slavery). Of the six so-called dialectical dialogues Euthydemus deals with philosophy; metaphysical Parmenides is about general concepts and absolute being; Theaetetus reasons about the theory of knowledge. Of its sequels, Sophist deals with not-being; Politicus with good and bad statesmanship and governments; Philebus with what is good. The Timaeus seeks the origin of the visible universe out of abstract geometrical elements. The unfinished Critias treats of lost Atlantis. Unfinished also is Plato’s last work, Laws, a critical discussion of principles of law which Plato thought the Greeks might accept.
The Loeb Classical Library edition of Plato is in twelve volumes.
Anaïs Nin’s Ladders to Fire interweaves the stories of several women, each emotionally inhibited in her own way: through self-doubt, fear, guilt, moral drift, and distrust. The novel follows their inner struggles to overcome these barriers to happiness and wholeness. The author’s own experiences, as recorded in her famous diaries, supplied the raw material for her fiction. It was her intuitive, experimental, and always original style that transformed one into the other. Nin herself memorably claimed that “it was the fiction writer who edited the diary.”
Ladders to Fire is the first book of Nin’s continuous novel, Cities of the Interior, which also includes Children of the Albatross,The Four-Chambered Heart,A Spy in the House of Love, and Seduction of the Minotaur. These loosely interlinked stories develop the characters and themes established in the first volume, leading slowly toward a resolution of inner turmoil and conflict.
This Swallow Press reissue of Ladders to Fire includes a new introduction by Nin scholar Benjamin Franklin V, as well as Gunther Stuhlmann’s classic foreword to the 1995 edition.
After struggling with her own press and printing her own works, Anaïs Nin succeeded in getting Ladders to Fire accepted and published in 1946. This recognition marked a milestone in her life and career. Admitted into the fellowship of American novelists, she maintained the individuality of her literary style. She resisted realistic writing and drew on the experience and intuitions of her diary to forge a novelistic style emphasizing free association, the language of emotion, spontaneity, and improvisation.
Ladders to Fire is the first volume of Nin’s celebrated series of novels called Cities of the Interior
For Anaïs Nin, her writing and her life were not separable, they were both part of the same experience. She claimed that “is it the fiction writer who edited the diary.”
Anaïs Nin continues to find an audience, whether for her fiction, her diaries, or her own life story, which has enjoyed the attention of biographers and filmmakers. This 1995 reissue of Ladders to Fire has a new cover and foreword.
Public toilets provide a unique opportunity for interrogating how conventional assumptions about the body, sexuality, privacy, and technology are formed in public spaces and inscribed through design across cultures. This collection of original essays from international scholars is the first to explore the cultural meanings, histories, and ideologies of public toilets as gendered spaces.
Ladies and Gents consists of two sets of essays. The first, "Potty Politics: Toilets, Gender and Identity," establishes the importance of accessible, secure public toilets to the creation of inclusive cities, work, and learning environments. The second set of essays, "Toilet Art: Design and Cultural Representations," discusses public toilets as spaces of representation and representational spaces, with reference to architectural design, humor, film, theater, art, and popular culture. Compelling visual materials and original artwork are included throughout, depicting subjects as varied as female urinals, art installations sited in public restrooms, and the toilet in contemporary art.
Taken together, these seventeen essays demonstrate that public toilets are often sites where gendered bodies compete for resources and recognition—and the stakes are high.
Contributors include: Nathan Abrams, Jami L. Anderson, Johan Andersson, Kathryn H. Anthony, Kathy Battista, Andrew Brown-May, Ben Campkin, Meghan Dufresne, Peg Fraser, Deborah Gans, Clara Greed, Robin Lydenberg, Claudia Mitchell, Alison Moore, Frances Pheasant-Kelly, Bushra Rehman, Alex Schweder, Naomi Stead, and the editors.
In the late eighteenth century, enlightened politicians and upper-class women in Spain debated the right of women to join one of the country’s most prominent scientific institutions: the Madrid Economic Society of Friends of the Country. Societies such as these, as Elena Serrano describes in her book, were founded on the idea that laypeople could contribute to the advancement of their country by providing “useful knowledge,” and their fellows often referred to themselves as improvers, or friends of the country. After intense debates, the duchess of Benavente, along with nine distinguished ladies, claimed, won, and exercised the right of women to participate in shaping the future of their nation by inaugurating the Junta de Damas de Honor y Mérito, or the Committee of Ladies of Honor and Merit. Ten years later, the Junta established a network of over sixty correspondents extending from Tenerife to Asturias and Austria to Cuba. With this book, Serrano tells the unknown story of how the duchess and her peers—who succeeded in creating the only known female branch among some five hundred patriotic societies in the eighteenth century—shaped Spanish scientific culture. Her study reveals how the Junta, by stressing the value of their feminine nature in their efforts to reform education, rural economy, and the poor, produced and circulated useful knowledge and ultimately crystallized the European improvement movement in Spain within an otherwise all-male context.
"A great read about some great ladies, Pat Majher's Ladies of the Lights pays long overdue homage to an overlooked part of Great Lakes maritime history in which a select group of stalwart women beat the odds to succeed in a field historically reserved for men."
---Terry Pepper, Great Lakes Lighthouse Keepers Association
Michigan once led the country in the number of lighthouses, and they're still a central part of the mystique of the state. What even the region's lighthouse enthusiasts might not know is the rich history of female lighthouse keepers in the area.
Fifty women served the sailing communities on Lakes Huron, Michigan, and Superior, as well as on the Detroit River, for more than 100 years. From Catherine Shook, who raised eight children while maintaining the Pointe Aux Barques light at the entrance to Saginaw Bay; to Eliza Truckey, who assumed responsibility for the lighthouse in Marquette while her husband fought for four years in the Civil War; to Elizabeth Whitney, whose combined service on Beaver Island and in Harbor Springs totaled forty-one years---the stories of Michigan's "ladies of the lights" are inspiring.
This is no technical tome documenting the minutiae of Michigan's lighthouse specifications. Rather, it's a detailed, human portrait of the women who kept those lighthouses running, defying the gender expectations of their time.
Patricia Majher is Editor of Michigan History magazine, published by the Historical Society of Michigan. Prior, she was Assistant Director of the Michigan Women's Historical Center and Hall of Fame in Lansing, Michigan. In addition, she has been writing both advertising and editorial copy for almost thirty years and has been a frequent contributor to Michigan newspapers and magazines.
George Robb’s pioneering study explores the financial methods, accomplishments, and careers of three generations of women. Plumbing sources from stock brokers’ ledgers to media coverage, Robb reveals the many ways women invested their capital while exploring their differing sources of information, approaches to finance, interactions with markets, and levels of expertise. He also rediscovers the forgotten women bankers, brokers, and speculators who blazed new trails--and sparked public outcries over women’s unsuitability for the predatory rough-and-tumble of market capitalism.
Entertaining and vivid with details, Ladies of the Ticker sheds light on the trailblazers who transformed Wall Street into a place for women’s work.
Beginning in the late nineteenth century, mainstream magazines established ideal images of white female culture, while comparable African American periodicals were cast among the shadows. Noliwe M. Rooks’s Ladies’ Pages sheds light on the most influential African American women’s magazines––Ringwood’s Afro-American Journal of Fashion, Half-Century Magazine for the Colored Homemaker, Tan Confessions, Essence, and O, the Oprah Magazine––and their little-known success in shaping the lives of black women.
Ladies’ Pages demonstrates how these rare and thought-provoking publications contributed to the development of African American culture and the ways in which they in turn reflect important historical changes in black communities. What African American women wore, bought, consumed, read, cooked, and did at home with their families were all fair game, and each of the magazines offered copious amounts of advice about what such choices could and did mean. At the same time, these periodicals helped African American women to find work and to develop a strong communications network. Rooks reveals in detail how these publications contributed to the concepts of black sexual identity, rape, migration, urbanization, fashion, domesticity, consumerism, and education. Her book is essential reading for everyone interested in the history and culture of African Americans.
Anna Morandi Manzolini (1714-74), a woman artist and scientist, surmounted meager origins and limited formal education to become one of the most acclaimed anatomical sculptors of the Enlightenment. The Lady Anatomist tells the story of her arresting life and times, in light of the intertwined histories of science, gender, and art that complicated her rise to fame in the eighteenth century.
Examining the details of Morandi’s remarkable life, Rebecca Messbarger traces her intellectual trajectory from provincial artist to internationally renowned anatomical wax modeler for the University of Bologna’s famous medical school. Placing Morandi’s work within its cultural and historical context, as well as in line with the Italian tradition of anatomical studies and design, Messbarger uncovers the messages contained within Morandi’s wax inscriptions, part complex theories of the body and part poetry. Widely appealing to those with an interest in the tangled histories of art and the body, and including lavish, full-color reproductions of Morandi’s work, The Lady Anatomist is a sophisticated biography of a true visionary.
"A rich and detailed picture of a particular historical moment that has now passed . . . I found myself immersed in the world of the East Village theatre scene and its connections to the larger world of feminism, theatre, and politics. Davy's long-standing association with this world pays off handsomely---it is impossible to imagine that anyone could write a more informative portrait."
---Charlotte Canning, University of Texas at Austin
"After hosting two annual international women's performance festivals in 1980 and '81, Peggy Shaw, Lois Weaver, and comrades put on such extravaganzas as the Freudian Slip party and the Debutante Ball (a coming-out party if ever there was one) to raise the first several months' rent for a narrow vestibule on East 11th Street, where they could keep the creativity going year-round. There, on a stage no bigger than a queen-sized mattress, . . . artists honed their craft, giving birth to a celebratory feminist-and-tinsel-tinged queer aesthetic. By the mid '80s . . . the rent quadrupled, and WOW moved to a city-owned building on East 4th Street, where it has flourished ever since, presenting hundreds---if not thousands---of plays, solo shows, concerts, dance pieces, cabarets, and sundry performances that defy classification."
---Alisa Solomon, Village Voice
Out of a small, hand-to-mouth, women's theater collective called the WOW Café located on the lower east side of Manhattan, there emerged some of the most important theater troupes and performance artists of the 1980s and 1990s, including the Split Britches Company, the Five Lesbian Brothers, Carmelita Tropicana, Holly Hughes, Lisa Kron, Deb Margolin, Reno, Peggy Shaw, and Lois Weaver. The WOW (Women's One World) Café Theatre appeared on the cultural scene at a critical turning point in both the women's movement and feminist theory, putting a witty, hilarious, gender-bending and erotically charged aesthetic on the stage for women in general and lesbians in particular.
The storefront that became the WOW Café Theatre saw dozens of excitingly original and enormously funny performances created, performed, and turned over at lightning speed---a kind of "hit and run" theater. As the demands on the space increased, the women behind WOW organized as a collective and moved their theater to an abandoned doll factory where it continues to operate today. For three decades the WOW Café has nurtured fledgling women writers, designers, and performers who continue to create important performance work.
Lady Dicks and Lesbian Brothers provides a critical history of this avant-garde venture whose ongoing "system of anarchy" has been largely responsible for its thirty-year staying power, after dozens of other women's theaters have collapsed. WOW artists were creating a wholly original cultural landscape across which women could represent themselves on their own terms. Parody, cross-dressing, zany comedy, and an unbridled eroticism are hallmarks of WOW's aesthetic, combined---importantly and powerfully---with a presumptive address to the audience as if everyone onstage, in the audience, and in the world is lesbian. Author Kate Davy's extensive research included in-depth interviews with WOW veterans; newspaper reviews of the earliest productions; and rare, unpublished photographs. The book also includes a chronology of productions that have highlighted WOW's performance schedule since the early '80s.
Kate Davy is currently Provost and Vice Chancellor for Academic Affairs at the University of Michigan-Dearborn. Her previous books include Richard Foreman: Plays and Manifestos and Richard Foreman and the Ontological-Hysteric Theatre.
"A rich and detailed picture of a particular historical moment that has now passed . . . I found myself immersed in the world of the East Village theatre scene and its connections to the larger world of feminism, theatre, and politics. Davy's long-standing association with this world pays off handsomely---it is impossible to imagine that anyone could write a more informative portrait."
---Charlotte Canning, University of Texas at Austin
"After hosting two annual international women's performance festivals in 1980 and '81, Peggy Shaw, Lois Weaver, and comrades put on such extravaganzas as the Freudian Slip party and the Debutante Ball (a coming-out party if ever there was one) to raise the first several months' rent for a narrow vestibule on East 11th Street, where they could keep the creativity going year-round. There, on a stage no bigger than a queen-sized mattress, . . . artists honed their craft, giving birth to a celebratory feminist-and-tinsel-tinged queer aesthetic. By the mid '80s . . . the rent quadrupled, and WOW moved to a city-owned building on East 4th Street, where it has flourished ever since, presenting hundreds---if not thousands---of plays, solo shows, concerts, dance pieces, cabarets, and sundry performances that defy classification."
---Alisa Solomon, Village Voice
Out of a small, hand-to-mouth, women's theater collective called the WOW Café located on the lower east side of Manhattan, there emerged some of the most important theater troupes and performance artists of the 1980s and 1990s, including the Split Britches Company, the Five Lesbian Brothers, Carmelita Tropicana, Holly Hughes, Lisa Kron, Deb Margolin, Reno, Peggy Shaw, and Lois Weaver. The WOW (Women's One World) Café Theatre appeared on the cultural scene at a critical turning point in both the women's movement and feminist theory, putting a witty, hilarious, gender-bending and erotically charged aesthetic on the stage for women in general and lesbians in particular.
The storefront that became the WOW Café Theatre saw dozens of excitingly original and enormously funny performances created, performed, and turned over at lightning speed---a kind of "hit and run" theater. As the demands on the space increased, the women behind WOW organized as a collective and moved their theater to an abandoned doll factory where it continues to operate today. For three decades the WOW Café has nurtured fledgling women writers, designers, and performers who continue to create important performance work.
Lady Dicks and Lesbian Brothers provides a critical history of this avant-garde venture whose ongoing "system of anarchy" has been largely responsible for its thirty-year staying power, after dozens of other women's theaters have collapsed. WOW artists were creating a wholly original cultural landscape across which women could represent themselves on their own terms. Parody, cross-dressing, zany comedy, and an unbridled eroticism are hallmarks of WOW's aesthetic, combined---importantly and powerfully---with a presumptive address to the audience as if everyone onstage, in the audience, and in the world is lesbian. Author Kate Davy's extensive research included in-depth interviews with WOW veterans; newspaper reviews of the earliest productions; and rare, unpublished photographs. The book also includes a chronology of productions that have highlighted WOW's performance schedule since the early '80s.
Kate Davy is currently Provost and Vice Chancellor for Academic Affairs at the University of Michigan-Dearborn. Her previous books include Richard Foreman: Plays and Manifestos and Richard Foreman and the Ontological-Hysteric Theatre.
Lady in Ermine: The Story of a Woman Who Painted the Renaissance reveals the discovery of an historic figure who embodies the struggle of women throughout the ages while immersing the reader in the sixteenth century world of the Renaissance figures she paints.
As a girl in Lombardy, Sofonisba Anguissola trains to paint with mannerist masters, and though society frowns upon women having such ambition, Sofonisba’s father unwaveringly encourages her. A royal tour by Prince Philip of Spain inspires her lifelong dream: to perfect the king’s portrait and show his truth on canvas, the highest calling for a Renaissance portraitist. Her drive to vindicate her loving father, a bastard of nobility, propels her. Politics of the Spanish empire brings Sofonisba to the heart of the royal court in Madrid. She aspires to achieve her goal while others at court work to undermine her as a female artist. Tragedy unfolds in the royal household, but in the process, Sofonisba finds her opportunity to paint the King of Spain, honoring her family name with her success. In life after court, Sofonisba navigates two marriages, royal appointments, love, hardship, and bankruptcy, while leaving a legacy of hundreds of paintings and influencing generations of artists from Anthony van Dyck to Peter Paul Rubens. This is her story.
Sylvia Neely provides both the first scholarly study of Lafayette’s life after the French Revolution and a detailed analysis of French politics during the early Restoration.
Lafayette, advocating a liberalism based on the American example, used both legal and illegal means to overturn a conservative government. The personification of liberalism for many of his contemporaries, he and his friends Benjamin Constant, Voyer d’Argenson, and Charles Goyet saw themselves as fighters in an international struggle that set liberalism against the forces of reaction and obscurantism. Although he ultimately failed, Lafayette was convinced that the liberal ideals derived from the Enlightenment and from his personal mentor, George Washington, would prevail.
Neely makes Lafayette’s actions clear by considering seriously the principles that guided his life and by describing the political climate of the early nineteenth century. She discloses previously overlooked features of the revolutions of the 1820s which account for the divisions among the revolutionary groups. She also examines relationships between Lafayette and the prominent writers and thinkers of the period, among them Augustin Thierry, Jeremy Bentham, Lady Morgan, and Frances Wright.
Just as Henry David Thoreau “traveled a great deal in Concord,” Nobel Prize–winning physicist Steven Weinberg sees much of the world from the window of his study overlooking Lake Austin. In Lake Views Weinberg, considered by many to be the preeminent theoretical physicist alive today, continues the wide-ranging reflections that have also earned him a reputation as, in the words of New York Times reporter James Glanz, “a powerful writer of prose that can illuminate—and sting.”
This collection presents Weinberg’s views on topics ranging from problems of cosmology to assorted world issues—military, political, and religious. Even as he moves beyond the bounds of science, each essay reflects his experience as a theoretical physicist. And as in the celebrated Facing Up, the essays express a viewpoint that is rationalist, reductionist, realist, and secular. A new introduction precedes each essay, explaining how it came to be written and bringing it up to date where necessary.
As an essayist, Weinberg insists on seeing things as they are, without despair and with good humor. Sure to provoke his readers—postmodern cultural critics, enthusiasts for manned space flight or missile defense, economic conservatives, sociologists of science, anti-Zionists, and religious zealots—this book nonetheless offers the pleasure of a sustained encounter with one of the most interesting scientific minds of our time.
Houghton Library and Harvard’s Peabody Museum Press collaborated on the publication of this fourth volume in the Houghton Library Studies series, an innovative cultural analysis of the extraordinary composite document known as “The Pictographic Autobiography of Half Moon, an Unkpapa Sioux Chief.” At its core is a nineteenth-century ledger book of drawings by Lakota Sioux warriors found in 1876 in a funerary tipi on the Little Bighorn battlefield after Custer’s defeat. Journalist Phocion Howard later added an illustrated introduction and had it bound into the beautiful manuscript that is reproduced in complete color facsimile here.
Howard attributed all seventy-seven Native drawings to a “chief” named Half Moon, but anthropologist Castle McLaughlin demonstrates that these dramatic scenes, mostly of war exploits, were drawn by at least six different warrior-artists. Their vivid first-person depictions make up a rare Native American record of historic events that likely occurred between 1866 and 1868 during Red Cloud’s War along the Bozeman Trail.
McLaughlin probes the complex life history of this unique artifact of cross-cultural engagement, uncovering its origins, ownership, and cultural and historic significance, and compares it with other early ledger books. Examining how allied Lakota and Cheyenne warriors valued these graphic records of warfare as both objects and images, she introduces the concept of “war books”—documents that were captured and altered by Native warrior-artists to appropriate the strategic power of Euroamerican literacy.
A Dan Josselyn Memorial Publication
Lamar Archaeology provides a comprehensive and detailed review of our knowledge of the late prehistoric Indian societies in the Southern Appalachian area and its peripheries. These Lamar societies were chiefdom-level groups who built most of the mounds in this large region and were ancestors of later tribes, including the Creeks and Cherokees. This book begins with a history of the last 50 years of archaeological and historical research and brings together for the first time all the available data on this early culture. It also provides an invaluable model for books about Southeastern Indian societies by combining purely descriptive information with innovative analyses, advancing our knowledge of the past while remaining firmly grounded in the archaeological evidence as fact.
Contributors include:
Frankie Snow, Chad O. Braley, James B. Langford Jr., Marvin T. Smith, Daniel T. Elliott, Richard R. Polhemus, C. Roger Nance, Gary Shapiro, Mark Williams, John F. Scarry, David G. Anderson, andCharles M. Hudson
Her movements are uncharacteristic, her words subversive, her dances unlike anything done before—and this is the story of how it all works. A founding member of the famed Judson Dance Theater and a past performer in the Merce Cunningham Dance Company, Deborah Hay is well known for choreographing works using large groups of trained and untrained dancers whose surprising combinations test the limits of the art. Lamb at the Altar is Hay’s account of a four-month seminar on movement and performance held in Austin, Texas, in 1991. There, forty-four trained and untrained dancers became the human laboratory for Hay’s creation of the dance Lamb, lamb, lamb . . . , a work that she later distilled into an evening-length solo piece, Lamb at the Altar. In her book, in part a reflection on her life as a dancer and choreographer, Hay tells how this dance came to be. She includes a movement libretto (a prose dance score) and numerous photographs by Phyllis Liedeker documenting the dance’s four-month emergence.
In an original style that has marked her teaching and writing, Hay describes her thoughts as the dance progresses, commenting on the process and on the work itself, and ultimately creating a remarkable document on the movements—precise and mysterious, mental and physical—that go into the making of a dance. Having replaced traditional movement technique with a form she calls a performance meditation practice, Hay describes how dance is enlivened, as is each living moment, by the perception of dying and then involves a freeing of this perception from emotional, psychological, clinical, and cultural attitudes into movement. Lamb at the Altar tells the story of this process as specifically practiced in the creation of a single piece.
For decades, Gershom Scholem kept these diaries locked away, returning to them only to refresh his memory of past events and eloquent observations. They remained unread by others until the meticulously edited German edition of this book appeared in 2002.
Lamentations of Youth gives insight into a crucial stage in Scholem's life, beginning when he was a student in Berlin during the First World War, a time of incubation and growth for his later ideas. Much of the journal writing, however, took place in Switzerland, a magnet for radical artists, socialist intellectuals, and revolutionaries fleeing war. The diaries are where Scholem forges his anarchic orthodoxy, and where he chronicles his intense relationship with Walter Benjamin. Many entries have the crisp quality of literary aphorisms crafted in the great German tradition of Kafka and Canetti.
For Scholem and Benjamin, the time they spent together in Switzerland spawned an astoundingly original view of literary criticism, interpretation, and cultural transmission. More personally, the themes of friendship, love, and heartbreak that dominate these pages later reemerge in Scholem's scholarship. No longer is the inner life of the critic seen as distinct from his textual criticism--they are deeply and esoterically intertwined.
"In Andrew S. Nicholson’s A Lamp Brighter than Foxfire, what is most alive is color, that which gives itself freely, generously: ‘Follow the hopeful as they green the day’ (‘My Garage Fills with an Ever-Increasing Number of Dandelions’). Threaded throughout with Genesis, wherein Jacob wrestles an angel, this gorgeous debut collection builds a ladder firmly rooted here: in sun and earth; in varying and multiple shades of orange; in trials of father and son; in books and paintings; in abandoned casinos; in countries far from home; and/or in the sound of a door closing. Nicholson’s poems come from a man standing by himself, in what George Oppen called the ‘shipwreck of the singular,’ which includes everybody. I’m moved by the luminous generosity, the moral clarity of this work. A Lamp Brighter than Foxfire is news that will stay news.”
—Claudia Keelan, author of The Devotion Field, Missing Her, and O, Heart
"'Who doesn’t nurse a secret love?' asks Andrew S. Nicholson in visionary poems that reveal secret worlds cradled inside this one. Whether considering the casinos of Las Vegas, a fresco in Pompeii, or scenes from the Hebrew Bible, the poet endures one of desire’s more fraught paradoxes: its unchanging ability to bring change, to turn the known into the unknown. These poems bravely attend to such transformations the way Jacob—the book’s patron saint—wrestles with the angel, 'lifting all the flesh / that he can lose.' I admire this poet who knows that blessing doesn’t arrive without loss, who remembers 'I was loved once. / Beneath that love, a kindness took root.' The same sweet feeling lingers long after this book is closed. Dear reader: savor it."
—Brian Teare
"Andrew S. Nicholson’s A Lamp Brighter than Foxfire is a gorgeous book. His graceful, playful poems enchant us ('I try to make out the stranger’s face, but he’s shrinking: / a melting gray blur, an ever-smaller thorn.') and transform us ('Sink into the bathwater, any way is a way / to journey toward that joining'). Nicholson has become one of the great poets of a new and radical kind of pastoral."
—Joseph Lease
Opening the space between the ordinary and the visionary, the poems in A Lamp Brighter than Foxfire uncover an intimate relationship with the world, from Las Vegas to Italy to the American Midwest. From a lime glowing in an orchard to a miraculous childhood attempt at levitation, Andrew S. Nicholson’s poems ground themselves in the commonplace and leap for the luminous. Central to this collection are poems that retell stories of Jacob from the Old Testament, relocated behind casinos, glimpsed in miniature on kitchen floors, and heard speaking in a moment of decay. Through these retellings, Nicholson examines the creation of self, family relationships, and a generative sense of the divine.
Cáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.
Composed in Old French between about 1220 and 1240, the Lancelot-Grail Cycle is a group of five prose romances centered on the love affair between Lancelot and Guenevere. It consists of an immense central core, the Lancelot Proper, introduced by The History of the Holy Grail and The Story of Merlin and concluded by The Quest for the Holy Grail and The Death of Arthur.
This volume brings together thirteen essays by noted scholars from the first symposium ever devoted exclusively to the Lancelot-Grail Cycle. Exploring the cycle's evolution across the literatures of medieval France, Italy, Spain, Catalonia, and England, the authors take a variety of approaches that highlight a broad range of cultural, social, historical, and political concerns and offer a comparative and interdisciplinary vision of this great romance.
Carried out by the government of the shah between 1962 and 1971, the Iranian land reform was one of the most ambitious such undertakings in modern Middle Eastern history. Yet, beneath apparent statistical success, the actual accomplishments of the program, in terms of positive benefits for the peasantry, were negligible. Later, the resulting widespread discontent of thousands of Iranian villagers would contribute to the shah's downfall.
In the first major study of the effects of this widely publicized program, Eric Hooglund's analysis demonstrates that the primary motives behind the land reform were political. Attempting to supplant the near-absolute authority of the landlord class over the countryside, the central government hoped to extend its own authority throughout rural Iran. While the Pahlavi government accomplished this goal, its failure to implement effective structural reform proved to be a long-term liability.
Hooglund, who conducted field research in rural Iran throughout the 1970s and who witnessed the unfolding of the revolution from a small village, provides a careful description of the development of the land reform and of its effects on the main groups involved: landlords, peasants, local officials, merchants, and brokers. He shows how the continuing poverty in the countryside forced the migration of thousands of peasants to the cities, resulting in serious shortages of agricultural workers and an oversupply of unskilled urban labor. When the shah's government was faced with mass opposition in the cities in 1978, not only did a disillusioned rural population fail to support the regime, but thousands of villagers participated in the protests that hastened the collapse of the monarchy.
Land and Sea was first published in 1978. 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.
Although Philip Freneau is best known as the poet of the American Revolution, half his poems had nothing to do with the war, Professor Vitzthum points out, and this, the first systematic, in-depth study of Freneau's lyric poetry, provides a fresh perspective on the poet's non-political work. Demonstrating that there is a heretofore unrecognized pattern of land-sea imagery and symbolism in Freneau's best work. Professor Vitzthum traces changes reflected in this imagery to developments in the poet's thought, which in turn related to major intellectual and literary trends in revolutionary and early republican America. An introductory chapter assesses twentieth century biographical and critical estimates of Freneau, outlines the key themes in his work, and links his thirty-year career as sailor and ship captain to his creation of a covert, symbolistic poetic method. The following five chapters chronologically discuss Freneau's non-political poems from 1772 through 1815. Professor Vitzthum concludes that Freneau was not the derivative and unsuccessful artist he is currently thought to have been but, rather, one of America's genuinely important poets.
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