More than twenty years after its original appearance in Italian, The Open Work remains significant for its powerful concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its striking anticipation of two major themes of contemporary literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interactive process between reader and text. The questions Umberto Eco raises, and the answers he suggests, are intertwined in the continuing debate on literature, art, and culture in general.
This entirely new edition, edited for the English-language audience with the approval of Eco himself, includes an authoritative introduction by David Robey that explores Eco's thought at the period of The Open Work, prior to his absorption in semiotics. The book now contains key essays on Eco's mentor Luigi Pareyson, on television and mass culture, and on the politics of art. Harvard University Press will publish separately and simultaneously the extended study of James Joyce that was originally part of The Open Work, entitled The Aesthetics of Chaosmos: The Middle Ages of James Joyce. The Open Work explores a set of issues in aesthetics that remain central to critical theory, and does so in a characteristically vivid style. Eco's convincing manner of presenting ideas and his instinct for the lively example are threaded compellingly throughout. This book is at once a major treatise in modern aesthetics and an excellent introduction to Eco's thought.
In this boldly interpretive narrative, William McKee Evans tells the story of America's paradox of democracy entangled with a centuries-old system of racial oppression. This racial system of interacting practices and ideas first justified black slavery, then, after the Civil War, other forms of coerced black labor and, today, black poverty and unemployment.
At three historical moments, a crisis in the larger society opened political space for idealists to challenge the racial system: during the American Revolution, then during the "irrepressible conflict" ending in the Civil War, and, finally, during the Cold War and the colonial liberation movements. Each challenge resulted in an historic advance. But none swept clean. Many African Americans remain segregated in jobless ghettoes with dilapidated schools and dismal prospects in an increasingly polarized class society.
Evans sees a new crisis looming in a convergence of environmental disaster, endless wars, and economic collapse, which may again open space for a challenge to the racial system. African Americans, with their memory of their centuries-old struggle against oppressors, appear uniquely placed to play a central role.
A shotgun misfires inside the American Fur Company store in Northern Michigan, and Alexis St. Martin's death appears imminent. It's 1822, and, as the leaders of Mackinac Island examine St. Martin's shot-riddled torso, they decide not to incur a single expense on behalf of the indentured fur trapper. They even go so far as to dismiss the attention of U.S. Army Assistant Surgeon William Beaumont, the frontier fort's only doctor.
Beaumont ignores the orders and saves the young man's life. What neither the doctor nor his patient understands—yet—is that even as Beaumont's care of St. Martin continues for decades, the motives and merits of his attention are far from clear. In fact, for what he does to his patient, Beaumont will eventually stand trial and be judged.
Rooted deeply in historic fact, Open Wound artfully fictionalizes the complex, lifelong relationship between Beaumont and his illiterate French Canadian patient. The young trapper's injury never completely heals, leaving a hole into his stomach that the curious doctor uses as a window to understand the mysteries of digestion. Eager to rise up from his humble origins and self-conscious that his medical training occurred as an apprentice to a rural physician rather than at an elite university, Beaumont seizes the opportunity to experiment upon his patient's stomach in order to write a book that he hopes will establish his legitimacy and secure his prosperity. As Jason Karlawish portrays him, Beaumont, always growing hungrier for more wealth and more prestige, personifies the best and worst aspects of American ambition and power.
Texas Historical Commission Award of Excellence in Media Achievement, Texas Historical Commission
In 1980, David Dillon launched his career as an architectural critic with a provocative article that asked “Why Is Dallas Architecture So Bad?” Over the next quarter century, he offered readers of the Dallas Morning News a vision of how good architecture and planning could improve quality of life, combatting the negative effects of urban sprawl, civic fragmentation, and rapacious real estate development typical in Texas cities. The Open-Ended City gathers more than sixty key articles that helped establish Dillon’s national reputation as a witty and acerbic critic, showing readers why architecture matters and how it can enrich their lives.Kathryn E. Holliday discusses how Dillon connected culture, commerce, history, and public life in ways that few columnists and reporters ever get the opportunity to do. The articles she includes touch on major themes that animated Dillon’s writing: downtown redevelopment, suburban sprawl, arts and culture, historic preservation, and the necessity of aesthetic quality in architecture as a baseline for thriving communities. While the specifics of these articles will resonate with those who care about Dallas, Fort Worth, and other Texas cities, they are also deeply relevant to all architects, urbanists, and citizens who engage in the public life and planning of cities. As a collection, The Open-Ended City persuasively demonstrates how a discerning critic helped to shape a landmark city by shaping the conversation about its architecture.
Explores how university governance is restricted by ceremony and what it must do to survive
University shared governance is a microcosm of regulation and thrives particularly on ceremony to communicate its relevance. While many investigations of university governance examine representation, Opening Ceremony offers that, instead, stakeholders’ belief in institutional values can invite revision of stagnant governance practices. Governance tells us what the rules are, but they also tell us how to feel: opening up the ceremonial communication of this system invites new participants to rewrite how universities respond to felt needs.
Kathryn J. Gindlesparger considers how to break the seal of ceremony to invite voices not traditionally heard in governance and, in doing so, protect the ideals of the institution and rebuild trust in higher education.
When Melissa Clark purchased a box of old scrapbooks online, she knew only that she had bought something relating to the University of Utah and Zion Park. What came in the mail was much more than she had expected. Instead of random mementos, two albums arrived full of photographs and newspaper clippings dating to 1920 that document a trip made by six young women from the University of Utah into the newly formed Zion National Park. Part of a promotional campaign developed by the Los Angeles and Salt Lake Railroad to advertise its national park shuttle service, the women entered Zion Canyon as its first offical tourists. When Melissa bought those timeworn scrapbooks she found a forgotten treasure: the opening of Zion.
With text by John Clark, the scrapbooks are now the basis of a one-of-a-kind publication. Part fashion spread, part adventure guide, and all Utah cultural treasure, Opening Zion is a stunning visual record of the park. Remarkably detailed black-and-white photographs show the young adventurers scrambling over rocky outcrops, pondering the dizzying height of Zion's sheer walls, and singing camp songs by the campfire. We are introduced anew to the "gigantic grandeur" of Zion National Park. As one of the women wrote, "One can think only beautiful thoughts amid such splendor."
From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera: ". . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . "
Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas.
In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world.
Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors.
Though some dismiss opera as old-fashioned, it shows no sign of disappearing from the world’s stage. So why do audiences continue to flock to it? Given its association with wealth, one might imagine that opera tickets function as a status symbol. But while a desire to hobnob with the upper crust might motivate the occasional operagoer, for hardcore fans the real answer, according to The Opera Fanatic, is passion—they do it for love.
Opera lovers are an intense lot, Claudio E. Benzecry discovers in his look at the fanatics who haunt the legendary Colón Opera House in Buenos Aires, a key site for opera’s globalization. Listening to the fans and their stories, Benzecry hears of two-hundred-mile trips for performances and nightlong camp-outs for tickets, while others testify to a particular opera’s power to move them—whether to song or to tears—no matter how many times they have seen it before. Drawing on his insightful analysis of these acts of love, Benzecry proposes new ways of thinking about people’s relationship to art and shows how, far from merely enhancing aspects of everyday life, art allows us to transcend it.
Opera for the People was first published in 1951. 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.
Everyone who enjoys opera will enjoy this book, and many who think they don't like opera will be delighted to discover how they can enjoy it. As Herbert Graf points out, opera in America today is not all it could be, and he shows how opera can be developed into something more vital—a real force in the musical life of communities.
As the long-time stage director of the Metropolitan Opera community, Dr. Graf is a foremost authority on opera production. From his wealth of practical experience, from his careful study of what others have done, and from his creative yet realistic thinking come his challenging proposals for a new kind of opera in America—opera for everyone.
The elements of opera production—the libretto, the music, the language, the sponsorship, the staging, the building—are discussed. American opera as it is performed on Broadway, in community civic companies, in school workshops, in motion pictures, and in television is surveyed. In conclusion, Dr. Graf draws his exciting blueprint for the opera of the future.
Illustrative anecdotes provide sidelights on many gamed musical personalities—Bruno Walter, Kurt Weill, Benjamin Britten, Lawrence Tibbett, Oscar Hammerstein II, and Gian Carlo Menotti, to name a few. Stories of many of the newer operas—how they came to be written and what they are about—are related.
Music lovers who yearn for a "new deal" in opera, civic leaders anxious to develop opera in their own communities, and schools and colleges offering opera training will find this book a stimulating guide.
Opera Production was first published in 1961. 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.
Designed particularly as a reference work for opera producers, students, performers, and writers, this book provides basic production information about more than 500 operas. Anyone planning to produce an opera will find here the essential information he needs in order to judge whether a given opera is appropriate to his resources for production.
Information for individual operas is given concerning the number and importance of settings; size of orchestra, chorus, and ballet; number of singers, their relative importance and individual requirements; sources for obtaining musical materials' previous performances in America; and the opera story, its period, and composer.
Extensive information about 150 full-length operas and 109 short operas is provided, with supplementary information about more than 260 other operas. The operas are alphabetized by title for easy reference. In order to condense the information as much as possible, codes and abbreviations are used, with keys and indexes at the back of the book.
This book will be invaluable to those working in either amateur or professional companies, in opera workshops, in school, college, or civic opera groups. Those whose interest in opera is confined to the other side of the footlights will find the book absorbing, too, just as a glimpse backstage would be.
Opera Production II was first published in 1974. 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.
For the world of opera this is an indispensable basic reference work which provides essential information about more than 350 operas. Producers, singers, directors, students, orchestras, and audiences will find useful, concise information in this handbook, a sequel to the author's earlier book Opera Production I: A Handbook, which contains similar information about more than 500 other operas. While the first volume concentrates on more familiar operas, this book is devoted principally to lesser known works, both old and new, including many as yet unperformed contemporary operas.
The details given about each opera are those needed to assess the production requirements for a given work: the number and importance of settings; size of orchestra, chorus, and ballet; number of singers, their relative importance and individual requirements; vocal and acting demands of performers, including vocal ranges in most cases; plot synopsis; and brief historical material to anchor the reader in the necessary knowledge of the period and source of the libretto. The information is compressed into capsule form so that anyone using the book can tell at a glance the suitability of a work to the particular facilities, talents, or tastes of an opera company or its public.
In addition to the reference material, there is a chapter "Production Problems in Handel's Opera" by Randolph Mickelson, a helpful feature since nine of Handel's operas are included and they are apt to pose special production problems.
Musically sound and fully annotated, this new reference work provides ready access to over 700 excerpts from 100 operas, by voice categories, and thus provides information on a wide variety of matters of interest to directors, teachers, and singers. A table of voice categories, coded excerpts (including length and reference to accessible scores), character descriptions (including estimations of degrees of difficulty of the music), summaries of the action of each excerpt, and indexes to titles, composers, and well-known arias and ensembles make this book an indispensable tool.
Popular operas in late imperial China were a major part of daily entertainment, and were also important for transmitting knowledge of Chinese culture and values. In the twentieth century, however, Chinese operas went through significant changes. During the first four decades of the 1900s, led by Xin Wutai (New Stage) of Shanghai and Yisushe of Xi’an, theaters all over China experimented with both stage and scripts to present bold new plays centering on social reform. Operas became closely intertwined with social and political issues. This trend toward “politicization” was to become the most dominant theme of Chinese opera from the 1930s to the 1970s, when ideology-laden political plays reflected a radical revolutionary agenda.
Drawing upon a rich array of primary sources, this book focuses on the reformed operas staged in Shanghai and Xi’an. By presenting extensive information on both traditional/imperial China and revolutionary/Communist China, it reveals the implications of these “modern” operatic experiences and the changing features of Chinese operas throughout the past five centuries. Although the different genres of opera were watched by audiences from all walks of life, the foundations for opera’s omnipresence completely changed over time.
Our modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. Can an act of the imagination, in the form of opera, take us the rest of the way? Might opera, an art form steeped in death, teach us how to die, as this provocative work suggests? In Opera: The Art of Dying a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts.
Contrasting the experience of mortality in opera to that in tragedy, the Hutcheons find a more apt analogy in the medieval custom of contemplatio mortis--a dramatized exercise in imagining one's own death that prepared one for the inevitable end and helped one enjoy the life that remained. From the perspective of a contemporary audience, they explore concepts of mortality embodied in both the common and the more obscure operatic repertoire: the terror of death (in Poulenc's Dialogues of the Carmelites); the longing for death (in Wagner's Tristan and Isolde); preparation for the good death (in Wagner's Ring of the Nibelung); and suicide (in Puccini's Madama Butterfly). In works by Janacek, Ullmann, Berg, and Britten, among others, the Hutcheons examine how death is made to feel logical and even right morally, psychologically, and artistically--how, in the art of opera, we rehearse death in order to give life meaning.
This widely praised publication of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. La Statira is the ninth opera available in the edition, which is under the general editorship of Donald Jay Grout.
La Statira was first performed in Rome in January 1690, to inaugurate the carnival season for that year. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great’s defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. Alexander’s bravery and magnanimity were favorite subjects of operatic librettists in the seventeenth and eighteenth centuries. In his Introduction, William Holmes sketches the opera’s history and discusses performance questions.
Donald Jay Grout’s widely praised edition of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. These volumes are “at once practical and unquestionably scholarly” in the words of Opera Journal.
A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.
This acclaimed edition is making available authentic versions of the works of a key figure in the history of opera.
Gli Equivoci nel Sembiante (1679), Alessandro Scarlatti’s first opera, is a comedy of mistaken identities and amorous intrigues in the pastoral mode. It was one of the most popular and widely performed works of the composer’s long career. A small cast and simple scenic requirements make it an ideal work for performances today.
In preparing the score presented here, Frank A. D’Accone compared the six extant manuscripts. His Introduction sketches the opera’s history and discusses performance practice. A translation of the libretto is appended.
In 2003, an FBI-led task force known as Operation Fly Trap attempted to dismantle a significant drug network in two Bloods-controlled, African American neighborhoods in Los Angeles. The operation would soon be considered an enormous success, noted for the precision with which the task force targeted and removed gang members otherwise entrenched in larger communities. In Operation Fly Trap, Susan A. Phillips questions both the success of this operation and the methods used to conduct it. Based on in-depth ethnographic research with Fly Trap participants, Phillips’s work brings together police narratives, crime statistics, gang cultural histories, and extensive public policy analysis to examine the relationship between state persecution and the genesis of violent social systems.
Crucial to Phillips’s contribution is the presentation of the voices and perspectives of both the people living in impoverished communities and the agents that police them. Phillips positions law enforcement surveillance and suppression as a critical point of contact between citizen and state. She tracks the bureaucratic workings of police and FBI agencies and the language, ideologies, and methods that prevail within them, and shows how gangs have adapted, seeking out new locations, learning to operate without hierarchies, and moving their activities more deeply underground. Additionally, she shows how the targeted efforts of task forces such as Fly Trap wreak sweeping, sustained damage on family members and the community at large. Balancing her roles as even-handed reporter and public scholar, Phillips presents multiple flaws within the US criminal justice system and builds a powerful argument that many law enforcement policies in fact nurture, rather than prevent, violence in American society.
An in-depth look into the transformation of visual culture and digital aesthetics
First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.
Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.
Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality.
Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.
The British opium trade along China's seacoast has come to symbolize China's century-long descent into political and social chaos. In the standard historical narrative, opium is the primary medium through which China encountered the economic, social, and political institutions of the West. Opium, however, was not a Sino-British problem confined to southeastern China. It was, rather, an empire-wide crisis, and its spread among an ethnically diverse populace created regionally and culturally distinct problems of control for the Qing state.
This book examines the crisis from the perspective of Qing prohibition efforts. The author argues that opium prohibition, and not the opium wars, was genuinely imperial in scale and is hence much more representative of the actual drug problem faced by Qing administrators. The study of prohibition also permits a more comprehensive and accurate observation of the economics and criminology of opium. The Qing drug traffic involved the domestic production, distribution, and consumption of opium. A balanced examination of the opium market and state anti-drug policy in terms of prohibition reveals the importance of the empire's landlocked western frontier regions, which were the domestic production centers, in what has previously been considered an essentially coastal problem.
Known to the Greeks as opos or opion, as afiun in Persian and Arabic, and fuyung in Chinese, opium is at once a palliative and a poison. Its exotic origins, its literary associations, and the properties that are, often erroneously, attributed to it have ensured an ongoing air of mystery.
Pierre-Arnaud Chouvy reveals the long and fascinating history of a powerful and addictive drug and explores the changing fortunes of the modern-day illicit opium trade, especially in the remote regions of Asia. He answers key questions: Why have anti-drug policies failed despite four decades of increasing effort? And what are the shortcomings and limitations of forced eradication, alternative development, "silver bullets," and other quick fixes? In answering these questions, Chouvy draws upon geography, anthropology, politics, and development studies. He shows that the history of opium production is unexpectedly linked to the history of Afghanistan.
A compelling account of a narcotic as old as humanity, Opium offers powerful insights into the complex politics and economics of the poppy in the world today.
The League of Nations Advisory Committee on the Traffic in Opium and Other Dangerous Drugs, created in 1920, culminated almost eight decades of political turmoil over opium trafficking, which was by far the largest state-backed drug trade in the age of empire. Opponents of opium had long struggled to rein in the profitable drug. Opium’s Long Shadow shows how diverse local protests crossed imperial, national, and colonial boundaries to gain traction globally and harness public opinion as a moral deterrent in international politics after World War I.
Steffen Rimner traces the far-flung itineraries and trenchant arguments of reformers—significantly, feminists and journalists—who viewed opium addiction as a root cause of poverty, famine, “white slavery,” and moral degradation. These activists targeted the international reputation of drug-trading governments, first and foremost Great Britain, British India, and Japan, becoming pioneers of the global political tactic we today call naming and shaming. But rather than taking sole responsibility for their own behavior, states in turn appropriated anti-drug criticism to shame fellow sovereigns around the globe. Consequently, participation in drug control became a prerequisite for membership in the twentieth-century international community. Rimner relates how an aggressive embrace of anti-drug politics earned China and other Asian states new influence on the world stage.
The link between drug control and international legitimacy has endured. Amid fierce contemporary debate over the wisdom of narcotics policies, the 100-year-old moral consensus Rimner describes remains a backbone of the international order.
Imperial Greek epos.
Oppian of Cilicia flourished in the latter half of the second century, and dedicated his Fishing (in five books) to Antoninus, presumably Marcus Aurelius. It deals with the habits and characteristics of fish as well as giving instructions for fishing: if not exactly poetical, it contains a great deal of curious information. The Chase, dedicated to Caracalla, is an inferior composition and may even be the work of a Syrian imitator. The first book gives an appreciation of the huntsman’s horses and hounds, the three remaining being devoted to the hunting of wild animals, from the lion to the hare. This edition is equipped with extensive zoological and ichthyological notes.
This volume also includes the extant work of two epic poets of Egypt who wrote in the second half of the fifth century under the influence of Nonnus. The Rape of Helen of Colluthus in 394 lines is a pleasant account of the Judgement of Paris and Helen’s elopement with him; Tryphiodorus (papyri reveal the correct spelling to be Triphiodorus) deals with The Taking of Troy in 691 lines, beginning with the Wooden Horse and ending with the sacrifice of Polyxena.
Blacks and Whites. Men and Women. Historically, each group has held very different types of jobs. The divide between these jobs was stark—clean or dirty, steady or inconsistent, skilled or unskilled. In such a rigidly segregated occupational landscape, race and gender radically limited labor opportunities, relegating Black women to the least desirable jobs. Opportunity Denied is the first comprehensive look at changes in race, gender, and women’s work across time, comparing the labor force experiences of Black women to White women, Black men and White men. Enobong Hannah Branch merges empirical data with rich historical detail, offering an original overview of the evolution of Black women’s work.
From free Black women in 1860 to Black women in 2008, the experience of discrimination in seeking and keeping a job has been determinedly constant. Branch focuses on occupational segregation before 1970 and situates the findings of contemporary studies in a broad historical context, illustrating how inequality can grow and become entrenched over time through the institution of work.
Opportunity in Crisis explores the history of late Qing Cantonese migration along the West River basin during war and reconstruction and the impact of those developments on the relationship between state and local elites on the Guangxi frontier. By situating Cantonese upriver and overseas migration within the same framework, Steven Miles reconceives the late Qing as an age of Cantonese diasporic expansion rather than one of state decline.
The book opens with crisis: rising levels of violence targeting Cantonese riverine commerce, much of it fomented by a geographically mobile Cantonese underclass. Miles then narrates the ensuing history of a Cantonese rebel regime established in Guangxi in the wake of the Taiping uprising. Subsequent chapters discuss opportunities created by this crisis and its aftermath and demonstrate important continuities and changes across the mid-century divide. With the reassertion of Qing control, Cantonese commercial networks in Guangxi expanded dramatically and became an increasingly important source of state revenue. Through its reliance on Hunanese and Cantonese to reconquer Guangxi, the Qing state allowed these diasporic cohorts more flexibility in colonizing the provincial administration and examination apparatus, helping to recreate a single polity on the eve of China’s transition from empire to nation-state.
In Opportunity Lost, Marcus D. Pohlmann examines the troubling issue of why Memphis city school students are underperforming at alarming rates. His provocative interdisciplinary analysis, combining both history and social science, examines the events before and after desegregation, compares a city school to an affluent suburban school to pinpoint imbalances, and offers critical assessments of various educational reforms.
In addition to his analysis of the problems, Pohlmann lays out educational reforms that run the gamut from early intervention and parental involvement to increasing teacher compensation, improving time utilization, and more. Pohlmann’s illuminating and original study has wide application for a problem that bedevils inner-city children everywhere and prevents the promise of equality from reaching all of our nation’s citizens.
In Opportunity Lost, Marcus D. Pohlmann examines the troubling issue of why Memphis city school students are underperforming at alarming rates. His provocative interdisciplinary analysis, combining both history and social science, examines the events before and after desegregation, compares a city school to an affluent suburban school to pinpoint imbalances, and offers critical assessments of various educational reforms.
Employing a rich trove of data to demonstrate the realities of racial and economic inequality, Pohlmann underscores the difficulties that plague the urban schools and their students-problems that persist despite the fact that the city schools often have more resource advantages than the county schools: better student-to-teacher ratios, more teachers with advanced degrees, and even greater spending on each student. Pohlmann demonstrates that post-industrial economic shifts and continuing racial exclusion have resulted in a predominance of low-income students at these schools. This economic disadvantage has had a lasting impact on performance among students at all grade levels and has not been reversed simply by increasing resources.
In addition to his analysis of the problems, Pohlmann lays out educational reforms that run the gamut from early intervention and parental involvement to increasing class size and teacher compensation, improving time utilization, and more. Pohlmann's illuminating and original study has wide application for a problem that bedevils inner-city children everywhere and prevents the promise of equality from reaching all of our nation's citizens.
Marcus D. Pohlmann is professor of political science at Rhodes College. He is the author of Governing the Postindustrial City; coauthor, with Michael P. Kirby, of Racial Politics at the Crossroads: Memphis Elects W. W. Herenton; and editor of the six-volume African American Political Thought.
This volume focuses on women in Latin America as stakeholders in water resources management. It makes their contributions to grassroots efforts more visible, explains why doing so is essential for effective public policy and planning in the water sector, and provides guidelines for future planning and project implementation.
After an in-depth review of gender and water management policies and issues in relation to domestic usage, irrigation, and sustainable development, the book provides a series of case studies prepared by an interdisciplinary group of scholars and activists. Covering countries throughout the hemisphere, and moving freely from impoverished neighborhoods to the conference rooms of international agencies, the book explores the various ways in which women are-and are not-involved in local water initiatives across Latin America. Insightful analyses reveal what these case studies imply for the success or failure of various regional efforts to improve water accessibility and usability, and suggest new ways of thinking about gender and the environment in the context of specific policies and practices.
Opposing Democracy in the Digital Age is about why ordinary people in a democratizing state oppose democracy and how they leverage both traditional and social media to do so. Aim Sinpeng focuses on the people behind popular, large-scale antidemocratic movements that helped bring down democracy in 2006 and 2014 in Thailand. The yellow shirts (PAD—People’s Alliance for Democracy) that are the focus of the book are antidemocratic movements grown out of democratic periods in Thailand, but became the catalyst for the country’s democratic breakdown. Why, when, and how supporters of these movements mobilize offline and online to bring down democracy are some of the key questions that Sinpeng answers. While the book primarily uses a qualitative methodological approach, it also uses several quantitative tools to analyze social media data in the later chapters. This is one of few studies in the field of regime transition that focuses on antidemocratic mobilization and takes the role of social media seriously.
The abortion fight has long been a crucible of political tactics, with both sides employing strategies ranging from litigation to civil disobedience to outright violence. Anti-abortion activists have arguably been more tactically innovative than their pro-choice peers. Opposition and Intimidation looks at how their use of political harassment fits—or doesn't—with more conventional political efforts in the struggle over abortion.
Alesha Doan's insightful interviews and observations powerfully portray anti-abortion activists' relationship to the objects of their protest. Her portrait is augmented by thorough quantitative analysis of harassment's role within the movement's multitiered strategy—a strategy that Doan shows has forced a decline in the availability and popularity of abortions. Using her unique study of the anti-abortion movement as a model, Doan extends her findings to propose a novel and valuable theory of the new politics of harassment.
"An interesting and sophisticated account. Seamlessly weaves narrative and analysis, tying local action to national strategy. Explores uncharted territory in the abortion controversy and expands our understanding of political action."
—Deborah R. McFarlane, University of New Mexico
"For 40 years, abortion politics have been endlessly fascinating to American scholars and journalists alike because they generate unique political phenomena that challenge traditional theories of political behavior. In this book, Doan goes straight to the heart of the matter by describing, evaluating, and explaining one of the most characteristic and complex of these phenomena—political harassment. In a well-written narrative that weaves qualitative and quantitative data, she gives us the first scholarly look at this political tactic, whose relevance and use go well beyond American abortion politics."
—Chris Mooney, University of Illinois at Springfield
"The book contributes to political theory and knowledge by adding new empirical data gathered from interviews with those in the front lines of the struggle over abortion. The author refines and develops a category of unconventional political participation—political harassment of nongovernmental actors—and explains why it is particularly effective in undermining the rights of women seeking abortions, as well as the rights of abortion service providers."
—Nikki R. Van Hightower, Texas A&M University
Alesha E. Doan is Assistant Professor of Political Science at the University of Kansas.
Longlist finalist, 2015 Historia Nova Prize for Best Book on Russian Intellectual and Cultural History
Julia Bekman Chadaga’s ambitious study posits that glass—in its uses as a material and as captured in culture—is a key to understanding the evolution of Russian identity from the eighteenth century onward. From the contemporary perspective, it is easy to overlook how glass has profoundly transformed vision. Chadaga shows the far-reaching effects of this phenomenon.
Her book examines the similarities between glass and language, the ideological uses of glass, and the material’s associations with modernity, while illuminating the work of Lomonosov, Dostoevsky, Zamyatin, and Eisenstein, among others. In particular, Chadaga explores the prominent role of glass in the discourse around Russia’s contentious relationship with the West—by turns admiring and antagonistic—as the nation crafted a vision for its own future. Chadaga returns throughout to the spectacular aspect of glass and shows how both the tendentious capacity and the playfulness of this material have shaped Russian culture.
In Joshua Mehigan’s award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint.
The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan’s poems explore death, desire, and change with a mixture of reason and compassion.
In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote:
“The world is given its due in these poems, but its due is the subjective voice making ‘objective’ reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn’t that Mehigan is concerned more with what’s outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It’s also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder.”
Cyberattacks are one of the greatest fears for governments and the private sector. The attacks come without warning and can be extremely costly and embarrassing.
Robert Mandel offers a unique and comprehensive strategic vision for how governments, in partnership with the private sector, can deter cyberattacks from both nonstate and state actors. Cyberdeterrence must be different from conventional military or nuclear deterrence, which are mainly based on dissuading an attack by forcing the aggressor to face unacceptable costs. In the cyber realm, where attributing a specific attack to a specific actor is extremely difficult, conventional deterrence principles are not enough. Mandel argues that cyberdeterrence must alter a potential attacker’s decision calculus by not only raising costs for the attacker but also by limiting the prospects for gain. Cyberdeterrence must also involve indirect unorthodox restraints, such as exposure to negative blowback and deceptive diversionary measures, and cross-domain measures rather than just retaliation in kind.
The book includes twelve twenty-first-century cyberattack case studies to draw insights into cyberdeterrence and determine the conditions under which it works most effectively. Mandel concludes by making recommendations for implementing cyberdeterrence and integrating it into broader national security policy. Cyber policy practitioners and scholars will gain valuable and current knowledge from this excellent study.
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