A SCHOLARLY BOOK REPOSITORY
With over forty years of experience as a sought after diagnostician, Dr. Stuart Mushlin has cracked his share of medical mysteries, ones in which there are bigger gambles than playing the ponies at the track. Some of his patients show up with puzzling symptoms, calling for savvy medical detective work. Others seem to present cut-and-dry cases, but they turn out to be suffering from rare or serious conditions.
In Playing the Ponies and Other Medical Mysteries Solved, Dr. Mushlin shares some of the most intriguing cases he has encountered, revealing the twists and turns of each patient’s diagnosis and treatment process. Along the way, he imparts the secrets to his success as a medical detective—not specialized high-tech equipment, but time-honored techniques like closely observing, touching, and listening to patients. He also candidly describes cases where he got things wrong, providing readers with honest insights into both the joys and dilemmas of his job.
Dr. Mushlin does not just treat diseases; he treats people. And this is not just a book about the ailments he diagnosed; it is also about the scared, uncertain, ailing individuals he helped in the process. Filled with real-life medical stories you’ll have to read to believe, Playing the Ponies is both a suspenseful page-turner and a heartfelt reflection on a life spent caring for patients.
-William Coco
"At last---a book documenting the beginnings of Off-Off Broadway theater. Playing Underground is an insightful, illuminating, and honest appraisal of this important period in American theater."
-Rosalyn Drexler, author of Art Does (Not!) Exist and Occupational Hazard
"An epic movie of an epic movement, Playing Underground is a book the world has waited for without knowing it. How precisely it captures the evolution of our revolution! I am amazed by the book's scope and scale, and I bless its author especially for giving two greats, Paul Foster and H. M. Koutoukas, their proper, polar places, and for memorializing such unjustly forgotten masterpieces as Irene Fornes's Molly's Dream and Jeff Weiss's A Funny Walk Home. Stephen Bottoms's vivid evocation of the grand adventure of Off-Off Broadway has woken and broken my heart. It is difficult to believe that he was not there alongside me to breathe the caffeine-nicotine-alkaloid-steeped air."
-Robert Patrick, author of Kennedy's Children and Temple Slave
Few books address the legendary age of 1960s off-off Broadway theater. Fortunately, Stephen Bottoms fills that gap with Playing Underground---the first comprehensive history of the roots of off-off Broadway.
This is a theater whose legacy is still felt today: it was the launching pad for many leading contemporary theater artists, including Sam Shepard, Maria Irene Fornes, and others, and it was a pivotal influence on improv comedy and shows like Saturday Night Live.
Off-off Broadway groups such as the Living Theatre, La Mama, and Caffe Cino captured the spirit of nontraditional theater with their edgy, unscripted, boundary-crossing subjects. Yet, as Bottoms discovers, there is no one set of truths about off-off Broadway to uncover; the entire scene was always more a matter of competing perceptions than a singular, concrete reality.
No other author has managed to illuminate this shifting tableau as Bottoms does. Through interviews with dozens of the era's leading playwrights, performers, directors, and critics, he unearths a countercultural theater movement that was both influential and transforming-yet ephemeral and quintessentially of its moment.
Playing Underground will be a definitive work on the subject, offering a complete picture of an important but little-studied period in American theater.
Playing with Dynamite is about the family secrets that can distance us from each other and the honesty that can bring us closer. It’s about a daughter who goes looking for her father but finds her mother instead. It’s about memory and truth, grieving and growing, and what it means to go home again.
How gaming intersects with systems like history, bodies, and code
Why do we so compulsively play video games? Might it have something to do with how gaming affects our emotions? In Playing with Feelings, scholar Aubrey Anable applies affect theory to game studies, arguing that video games let us “rehearse” feelings, states, and emotions that give new tones and textures to our everyday lives and interactions with digital devices. Rather than thinking about video games as an escape from reality, Anable demonstrates how video games—their narratives, aesthetics, and histories—have been intimately tied to our emotional landscape since the emergence of digital computers.
Looking at a wide variety of video games—including mobile games, indie games, art games, and games that have been traditionally neglected by academia—Anable expands our understanding of the ways in which these games and game studies can participate in feminist and queer interventions in digital media culture. She gives a new account of the touchscreen and intimacy with our mobile devices, asking what it means to touch and be touched by a game. She also examines how games played casually throughout the day create meaningful interludes that give us new ways of relating to work in our lives. And Anable reflects on how games allow us to feel differently about what it means to fail.
Playing with Feelings offers provocative arguments for why video games should be seen as the most significant art form of the twenty-first century and gives the humanities passionate, incisive, and daring arguments for why games matter.
The spectacle of modern sport displays all the latest commercial and technological innovations, yet age-old religious concerns still thrive at the stadium. Coaches lead pre-game and post-game prayers, athletes give God the credit for home runs and touchdowns, and fans wave signs with biblical quotations and allusions. Like no other nation on earth, Americans eagerly blend their religion and sports. Playing with God traces this dynamic relationship from the Puritan condemnation of games as sinful in the seventeenth century to the near deification of athletic contests in our own day.
Early religious opposition to competitive sport focused on the immoderate enthusiasm of players and spectators, the betting on scores, and the preference for playing field over church on Sunday. Disapproval gradually gave way to acceptance when "wholesome recreation" for young men in crowded cities and soldiers in faraway fields became a national priority. Protestants led in the readjustment of attitudes toward sport; Catholics, Jews, Mormons, and Muslims followed. The Irish at Notre Dame, outstanding Jews in baseball, Black Muslims in the boxing ring, and born-again athletes at Liberty University represent the numerous negotiations and compromises producing the unique American mixture of religion and sport.
Despite that the world around me does not value play, in my creative life, play is necessary. In fact, I have discovered it is the real work I do as an artist and teacher. As a storyteller, writer, teacher, and imaginative thinker, it is play that has produced the most desired results in my life, in my work, and especially, in my creativity. It is in play that we experience who we are and we begin to extend our choices. Play is not consciously prepared; discovery that happens in the moment. It invites reflection. In fact, Plato once shared, “You can discover more about a person in an hour of play than in a year of conversation.”
In this book, you will discover new ways to work with your story craft and find new story direction using play. Indeed, play is a meaningful way to create and learn.
In both childhood and adult play, the imagination plays a central role in the meaning making process. Although there are many types of play: school-based, recess, sports, this work is rooted in play inviting the writer, storyteller, or imaginative thinker to make choices as they work to create meaning in their work.
I will share how collaborative play can increase your choices when making a story. You will find not only exercises to build your story making and telling skills, but pedagogy of practice to use when called to create story.
Winner, Association for Latin American Art-Arvey Foundation Book Award, 2022
More than a thousand years ago on the north coast of Peru, Indigenous Moche artists created a large and significant corpus of sexually explicit ceramic works of art. They depicted a diversity of sex organs and sex acts, and an array of solitary and interconnected human and nonhuman bodies. To the modern eye, these Moche “sex pots,” as Mary Weismantel calls them, are lively and provocative but also enigmatic creations whose import to their original owners seems impossible to grasp.
In Playing with Things, Weismantel shows that there is much to be learned from these ancient artifacts, not merely as inert objects from a long-dead past but as vibrant Indigenous things, alive in their own inhuman temporality. From a new materialist perspective, she fills the gaps left by other analyses of the sex pots in pre-Columbian studies, where sexuality remains marginalized, and in sexuality studies, where non-Western art is largely absent. Taking a decolonial approach toward an archaeology of sexuality and breaking with long-dominant iconographic traditions, this book explores how the pots "play jokes," "make babies," "give power," and "hold water,” considering the sex pots as actual ceramic bodies that interact with fleshly bodies, now and in the ancient past. A beautifully written study that will be welcomed by students as well as specialists, Playing with Things is a model for archaeological and art historical engagement with the liberating power of queer theory and Indigenous studies.
“How has the art of theater managed to survive at all into the era of modernism and the era of what is currently, however ineptly, called postmodernism?” asks preeminent theater scholar Eric Bentley. “Through the work of [Luigi] Pirandello, I should think, more than any other single individual.”
Bentley’s English versions of four of Pirandello’s most celebrated plays—collected here for the first time—capture the playwright’s voice with remarkable perception. He has provided texts that are the standard for American productions, sensitive both to what is uniquely “Sicilian” in Pirandello’s language and to the rigors of the American stage.
Along with Pirandello’s better-known works, Six Characters in Search of an Author, Emperor Henry, and Right You Are, this edition includes the widely performed The Man with the Flower in His Mouth, unavailable in any other collection.
Plays by French and Francophone Women presents eight recent plays by contemporary French and francophone women writers. The plays vary in style and form from the satirical to the poetic, from the comedic one-woman show to the potential multi-media esoteric production, and have been written by French, Qué becois, Acadian, and Caribbean francophone writers. The editors have provided informative headnotes to introduce each play, then faithful translations rendered with an ear toward production in English. A general introduction to the volume situates each work within the broader context of contemporary French-language theater by women. The volume also includes an annotated bibliography by Cynthia Running-Johnson of thirty-one additional plays by women in French.
Featured plays and playwrights are The Scent of Sulphur by S. Corinna Bille; When Fairies Thirst by Denise Boucher; Island Memories by Ina Césaire; Warmth: A Bloodsong by Chantal Chawaf; The Goddess Lar or Centuries of Women by Andrée Chedid; The Name of Oedipus: Song of the Forbidden Body by Hélène Cixous; The Table: Womenspeak by Michèle Foucher; and The Rabble by Antonine Maillet.
Each play was developed by Theater Three Collaborative for production in New York and internationally in Italy, Australia, London, Berlin, and Paris.
DeLillo's interview play is accompanied in this collection by interviews with theater director Roberta Levitow, Martin Scorsese, and film/theater critic Stanley Kauffmann. Other contributions include a critical look at the current American theater scene, analyses of the place of politics in the careers of G. B. Shaw and Luigi Pirandello, a compelling reading of Chekhov's "The Seagull", a detailed inquiry into the obsessions that energize the works of Sam Shepard, provocative reinterpretations of the films Mean Streets and The Sheltering Sky, and a translation of André Bazin's important piece on theology and film.
Contributors. André Bazin, Robert Brustein, Bert Cardullo, Anthony DeCurtis, Don DeLillo, Jesse Ward Engdhal, Richard Gilman, Jim Hosney, Mame Hunt, Jonathan Kalb, Stanley Kauffmann, Jody McAuliffe, Mary Ann Frese Witt, Jacquelyn Wollman, David Wyatt
David Garrick’s accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre.
This first complete edition makes available to scholars and students all the plays of Garrick in well edited texts, with commentary and notes.
Contents: Macbeth. A Tragedy, 1744; Romeo and Juliet, 1748; The Fairies. An Opera, 1755; Catherine and Petruchio. A Comedy, 1756; Florizel and Perdita. A Dramatic Pastoral, 1756; The Tempest. An Opera, 1756; and King Lear. A Tragedy, 1756.
This is the first comprehensive play-by-play analysis of the drama of David Storey, one of the most acclaimed and innovative, sometimes controversial, writers in the British theatre since World War II. Grouping the plays according to theme, Hutchings demonstrates that the central focus in the drama of David Storey is the devaluation of traditional rituals in contemporary life and the disintegration of the family. A playwright attuned to the poetry in the ordinary, to the profundity, subtle eloquence, and dramatic tension in the mundane, Storey explores the ways people cope, or fail to cope, with complexity, with uncertainty, with constant, bewildering flux. He writes about groups—families (In Celebration, The Farm), rugby teams (The Changing Room), and construction crews (The Contractor). In his plays, individuals seek to overcome isolation and integrate themselves into a significant assemblage that transcends the self.
Hutchings notes that Storey frequently deals with working-class parents who cannot "understand their grown children’s anxieties, their discontentedness with life, their unstable marriages, and their inability to enjoy the benefits of the education and advantages they labored so hard for so many years to provide."
Storey understands and sympathizes with parents who have paid to educate their children out of their own spheres. He saw it happen in his own family, knew the disapproval of his father: "What else could my father think when, nearing sixty, he came home each day from the pit exhausted, shattered by fatigue, to find me—a young man ideally physically equipped to do the job which now left him totally prostrated—painting a picture of flowers, or writing a poem about a cloud. There was, and there is, no hope of reconciliation."
Hutchings supplements his thematic analysis of Storey’s plays by interweaving into his text 90 percent of a major interview with the playwright, the only such comprehensive interview in existence. Storey, who believes that readers "ought to be chary of all interviews," discusses alleged literary influences on his work, the current state of British theatre, and his reactions to critics. He also provides insight into various productions and performances in his work.
Recovering the stage work of one of America's finest black female writers
This volume collects twelve of Georgia Douglas Johnson's one-act plays, including two never-before-published scripts found in the Library of Congress. As an integral part of Washington, D.C.'s, thriving turn-of-the-century literary scene, Johnson hosted regular meetings with Harlem Renaissance writers and other artists, including Countee Cullen, Langston Hughes, May Miller, and Jean Toomer, and was herself considered among the finest writers of the time. Johnson also worked for U.S. government agencies and actively supported women's and minorities' rights.
As a leading authority on Johnson, Judith L. Stephens provides a brief overview of Johnson's career and significance as a playwright; sections on the creative environment in which she worked; her S Street Salon; "The Saturday Nighters," and its significance to the New Negro Theatre; selected photographs; and a discussion of Johnson's genres, themes, and artistic techniques.
Although Niggli is perhaps best known for her fiction and folk plays, this anthology recovers her historical dramas, most of which have been long out of print or were never published. These plays are deeply concerned with the aftermath of the 1910 Mexican Revolution, imagining its implications for Mexico, Mexican Americans, and U.S.-Mexico relations. Included are Mexican Silhouettes (1928), Singing Valley (1936), The Cry of Dolores (1936), The Fair God (1936), Soldadera (1938), This is Villa! (1939), and The Ring of General Macias (1943). These works reflect on the making of history and often portray the Revolution through the lens of women’s experiences.
Also included in this volume are an extensive critical introduction to Niggli, a chronology of her life and writings, plus letters and reviews by, to, and about Josefina Niggli. that provide illuminating context for the plays.
Rigorous scholarship meets cultural practice in this innovative, multi-modal edited collection that includes video essays and offers transcripts of the playthroughs themselves. Readers (and viewers) will come away with a toolkit of models, case studies, and conceptual frameworks for analyzing video games through gameplay. This volume is a fresh return to the joy of play: the poetics of games as contemporary forms of storytelling and interactivity.
With contributions from Ashlee Bird, Brandon Blackburn, Milena Droumeva, Kishonna Gray, Robyn Hope, Ben Scholl, Maria Sommers, Ashlyn Sparrow, Christine Tran, and Aaron Trammell.
Playwrights for Tomorrow was first published in 1973. 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.
This volume presents four plays by writers who have worked under the program of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota, an experimental project which provides promising playwrights with the opportunity of working with cooperating theatres in the production of their plays. Arthur H. Ballet, the editor, is director of the
O.A.D.R.
The plays in this volume and the theatres which cooperated in their production are Boxes by Susan Yankowitz, Magic Theatre, Berkeley, California; Canvas by David Roszkowski, Scorpio Rising Theatre, Los Angeles; Bierce Takes on the Railroad! by Philip A. Bosakowski, Theatre III, College of Marin, Kentfield, California; and Chamber Piece by John O'Keefe, Magic Theatre, Berkeley, California.
In an introduction Professor Ballet discussed the program and accomplishments of the O. A.D.R., which was established with the aid of a Rockefeller Foundation grant. He writes: "It seemed obvious that no artist worked in more lonely isolation and needed more direct contact with the theatre than the playwright. Despite loud pronouncements . . . that theatres outside of New York were searching for new plays and writers, the evidence indicates that very few theatres really wanted to work with unknown but living playwrights. The O.A.D.R., in its small way, has tried to open a highway . . . between new, often untried writers and willing, even brave theatres.
As Speech and Drama (England) pointed out in a review of earlier volumes of the Playwrights for Tomorrow series: "Schemes like this one at Minnesota deserve the highest praise. On the evidence of these volumes, the executive committee which operates this venture is not attempting to impose any single imprint on its authors—a further example of the generosity of the patronage."
Playwrights for Tomorrow was first published in 1967. 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.
This is the fourth in a series of volumes which offer collections of plays by dramatists who have participated in an experimental program conducted at the University of Minnesota under the auspices of the Office of Advanced Drama Research (O.A.D.R.). Dr. Arthur H. Ballet, editor of the series, is the director of the O.A.D.R.
This volume contains three full-length plays and one short play. They are The World Tipped Over, and Laying on Its Side (one act) by Mary Feldhaus-Weber, Visions of Sugar Plums by Barry Pritchard, The Strangler by Arnold Powell, and The Long War by Kevin O' Morrison. Mary Feldhaus-Weber is a St. Paul poet who has chosen to work in the theatre. Mr. Pritchard, a former playwright in residence at Theatre St. Paul, now writes for television and films in Hollywood. Mr. Powell is a teacher and theatre director at Birmingham-Southern College in Atlanta, and Mr. O'Morrison pursues an acting career in the Broadway theatre.
As Dr. Ballet explains in his introduction, the program of the O.A.D.R. is designed to give promising playwrights a testing ground for their ideas, skills, and talents by providing them with a chance to have their plays actually produced and, whenever possible, the opportunity of working with the producing groups. He points out that a number of the writers associated with the O.A.D.R. have subsequently moved into the mainstream of contemporary American theatre. Publication of the plays will, it is hoped, bring them to the attention of larger audiences and stimulate further critical appraisal.
In Playwriting and Young Audiences, Matt Omasta and Nicole B. Adkins put this right. Providing a range of perspectives, the book collects the practical advice and wisdom of seventy-five artists and practitioners. It is a deeply poignant account of those who have dedicated their lives to work that applauds the dignity and depth of young people.
This book explores how heritage tourism and globalization are reshaping the Latin American centro histórico, analyzing the transformation of the urban core from town plaza to historic center in nine cities: Bogotá, Colombia; Buenos Aires, Argentina; Cartagena, Colombia; Cuenca, Ecuador; Havana, Cuba; Montevideo, Uruguay; Puebla, Mexico; Quito, Ecuador; and Trinidad, Cuba. It tells how these pressures, combined with the advantage of a downtown location, have raised the potential of redeveloping these inner city areas but have also created the dilemma of how to restore and conserve them while responding to new economic imperatives.
In an eclectic and interdisciplinary study, Joseph Scarpaci documents changes in far-flung corners of the Latin American metropolis using a broad palette of tools: urban morphology profiles, an original land-use survey of 30,000 doorways in nine historic districts, numerous photographs, and a review of the political, economic, and globalizing forces at work in historic districts. He examines urban change as reflected in architectural styles, neighborhood growth and decline, real estate markets, and local politics in order to show the long reach of globalization and modernity.
Plazas and Barrios spans all of Spanish-speaking America to address the socio-political dimensions of urban change. It offers a means for understanding the tensions between the modern and traditional aspects of the built environment in each city and provides a key resource for geographers, urban planners, architectural historians, and all concerned with the implications of the emerging global economy.
On a moonlit night in 1889, Iowa farmer John Elkins and his young wife, Hattie, were brutally murdered in their bed. Eight days later, their son, eleven-year-old Wesley Elkins, was arrested and charged with murder. The community reeled with shock by both the gruesome details of the homicides and the knowledge of the accused perpetrator—a small, quiet boy weighing just 75 pounds.
Accessible and fast-moving, The Plea delivers a complete, complex, and nuanced narrative of this horrific crime, while shedding light on the legal, social, and political environment of Iowa and the country in the late 1800s and early 1900s.
Sánchez highlights the struggles experienced by Hispano territorial assemblymen trying to create opportunity and a better life in the face of cultural conflict and the institutional racism used to effectively shut them out of the process of establishing new laws and social order. For example, the federal and Colorado territorial governments did not provide an interpreter for the Hispano assemblymen or translations of the laws passed by the legislature, and they taxed Hispano constituents without representation and denied them due process in court.
The first in-depth history of Hispano sociopolitical life during Colorado’s territorial period, Pleas and Petitions provides fundamental insight into Hispano settlers’ interactions with their Anglo neighbors, acknowledges the struggles and efforts of those Hispano assemblymen who represented southern Colorado during the territorial period, and augments the growing historical record of Hispanos who have influenced the course of Colorado’s history.
In Giovan Francesco Straparola’s The Pleasant Nights, a group of men and women gather together in a villa on the Venetian island of Murano during Carnival to sing songs, tell tales, and solve riddles. A sixteenth-century bestseller, The Pleasant Nights is today a fundamental text for European folk and fairy tale studies, for alongside triumphal and tragic love stories, comical tales of practical jokes, and accounts of witty retorts, Straparola (1480? – 1557?) placed some of the first fairy tales printed in Europe. Straparola’s eloquent female narrators and the fairy tales they recount became a model for a generation of French women writers in Parisian salons, who used the fairy tale to interrogate the gender norms of their day. This book presents the first new and complete English translation of Straparola’s tales and riddles to be published since the nineteenth century.
Long before movie stars Ronald Reagan and Arnold Schwarzenegger became governors of California, a popular radio personality with no previous political experience—who wasn't even registered to vote—swept into the governor's office of Texas. W. Lee "Pappy" O'Daniel was a 1930s businessman who discovered the power of radio to sell flour. His musical shows with the Light Crust Doughboys (which launched the career of Bob Wills) and his radio homilies extolling family and Christian values found a vast, enthusiastic audience in Depression-era Texas. When Pappy decided to run for governor in 1938 as a way to sell more flour—a fact he proudly proclaimed throughout the campaign—the people of Texas voted for him in record numbers. And despite the ineptitude for politics he displayed once in office, Texans returned him to the governorship in 1940 and then elected him to the U.S. Senate in 1941 in a special election in which he defeated Lyndon Johnson, as well as to a full term as senator in 1942.
While the hit film O Brother, Where Art Thou? celebrated a fictional "Please Pass the Biscuits, Pappy" O'Daniel, this book captures the essence of the real man through photographs taken by employees of the Texas Department of Public Safety, most of which are previously unpublished. Reminiscent of the work of WPA photographers such as Russell Lee and Dorothea Lange, these photos record the last unscripted era of politics when a charismatic candidate could still address a crowd from an unpainted front porch or a mobile bandstand in the back of a truck. They strikingly confirm that Pappy O'Daniel's ability to connect with people was as great in person as on the radio.
To set the photos in context, Bill Crawford has written an entertaining text that discusses the political landscape in Texas and the United States in the 1930s, as well as the rise of radio as mass medium for advertising and entertainment. He also provides extensive captions for each picture. John Anderson, Photo Archivist of the Texas State Archives, discusses the work of Joel Tisdale and the other DPS photographers who left this extraordinary record of the greatest vote-getter in Texas history, who became one of America's first celebrities to cross the line from entertainment to political office.
PLEASURE is a book-length poem which muses on the phenomenology of solitude in a pastoral landscape, written in a diaristic, lyric mode, where the queer “I” alternately savors the decadence of isolation and stands at the precipice of despair. A travelogue in verse, PLEASURE takes place in Syros, the Greek island to which author Angelo Nikolopolous travels a few weeks after the discovery of his mother’s brain tumor. These intertextual, elliptical explorations of solitude and sensuality interweave images of seaside roaming, secluded town life, and ephemeral sexual encounters with the ubiquitous implication of death—the waning summer, the ill, perhaps dying, mother. Staring down true disconnection—both physical and psychic orphanhood —Nikolopoulos writes about the thrill and sadness of turning your back against the world and those in it only to rediscover that which tethers all to human experience: the quotidian, singular pleasures of having a body.
Race does not suggest that drug use is risk-free, good, or bad, but rather that the regulation of drugs has become a site where ideological lessons about the propriety of consumption are propounded. He argues that official discourses about drug use conjure a space where the neoliberal state can be seen to be policing the “excesses” of the amoral market. He explores this normative investment in drug regimes and some “counterpublic health” measures that have emerged in response. These measures, which Race finds in certain pragmatic gay men’s health and HIV prevention practices, are not cloaked in moralistic language, and they do not cast health as antithetical to pleasure.
Pleasure Grounds of Death considers the history of the rural cemetery in the United States throughout the duration of the nineteenth century as not only a critical cultural institution embedded in the formation of community and national identities, but also as major sites of contest over matters of burial reform, taste and respectability, and public behavior; issues concerning race, class, and gender; conflicts over the burial of the Civil War dead and formation of postwar memory; and what constituted the most appropriate ways to structure the landscape of the dead in a modern and progressive society. As cultural landscapes that served the needs of the living as well as the dead, rural cemeteries offer a mirror for the transformations and conflicts taking place throughout the nineteenth century in American society.
Gallon discusses how journalists and editors created black sexual publics that offered everyday African Americans opportunities to discuss sexual topics that exposed class and gender tensions. While black churches and black schools often encouraged sexual restraint, the black press printed stories that complicated notions about respectability. Sensational coverage also expanded African American women’s sexual consciousness and demonstrated the tenuous position of female impersonators, black gay men, and black lesbians in early twentieth African American urban communities.
Informative and empowering, Pleasure in the News redefines the significance of the black press in African American history and advancement while shedding light on the important cultural and social role that sexuality played in the power of the black press.
Nabou returns to Fez as Amir’s second wife, weathering the jealous cruelty of Lalla Fatma, his first partner. Isolated within her new home, Nabou gives birth to twin sons, one black and one white, who come of age on the opposite sides of racial, social, and political chasms and who chart vastly different courses. The Pleasure Marriage showcases Ben Jelloun’s mastery of metaphor and lyrical narrative as he continues to take us into the worlds of Moroccan culture through his exquisite language and literary genius.
When British writers Philip Larkin and Lord David Cecil named Barbara Pym one of the twentieth century's most underrated authors in a 1977 Times Literary Supplement survey, they started a Barbara Pym revival that continued unabated in Great Britain and the United States. Barbara Pym's delightful tales of jumble sales and parish meetings, her ironic insights into the relationships between women and men, have won a devoted following. Indeed she is often compared to that most accomplished author of comedies of manners, Jane Austen.
The Pleasure of Miss Pym is a critical study of Pym as comic writer and of the links between her life and autobiographical writings and her fiction, written with a liveliness of style and tone that matches Pym's own. Not only does Charles Burkhart provide perceptive discussions of Pym's life and novels, he also illuminates the worldview represented in her work, the unique nature of her comedy, her religion, her place within the history of the novel, and her penetrating insights into male-female relationships. All of Pym's work, including the 1986 posthumous publication, An Academic Question, is intelligently surveyed here. Scholars of contemporary English literature will derive both instruction and pleasure from this elegantly written study, as will Pym's admiring readers, for whom it is also intended.
Ranging from the humorous to the ironic, from the personal to the theoretical, and from sports as dissimilar as baseball and rugby, gambling and karate, this issue explains fandom itself and explores the intersections of sport and politics, sport and class, and sport and identity. One timely essay addresses the use of Native American imagery and nicknames and the recent NCAA ban on these references. Another classifies gambling as a popular American sport, one that in 2003 attracted three times as many attendees as all Major League Baseball franchises combined. Another essay delves into the history of the golfing mecca of Pinehurst, North Carolina, discussing the resort’s roots in the age of Jim Crow. Among the other topics addressed in this issue are how soccer fandom and commodity culture can be one and the same; why Liverpool’s 2005 victory in the European Champion’s League proves that God is red; and why the Olympic Games can represent performative nationalism.
Contributors. David L. Andrews, Amy Bass, Norman K. Denzin, Grant Farred, Keya Ganguly, John Hartley, Jane Juffer, Liz Moor, Jeffrey T. Nealon, Annie Paul, George Ritzer, Jim Shepard, Orin Starn, Kenneth Surin
Delving into the specialized cultures of pain, necrophilia, and bestiality and the social world of plushies, furries, and life-size sex dolls, Peakman considers the changing attitudes toward these, as well as masturbation, “golden showers,” sadomasochism, homosexuals, transvestites, and transsexuals. She follows the history of each behavior through its original reception to its interpretation by sexologists and how it is viewed today, showing how previously acceptable behaviors now provoke social outrage, or vice versa. In addition, she questions why people have been and remain intolerant of other people’s sexual preferences.
The first comprehensive history of sexual perversion and packed with both color and black and white images, The Pleasure’s All Mine is a fascinating and sometimes shocking look at the evolution of our views on sex.
Curtis shows that girls are often caught between conflicting discourses of Christian teachings about chastity, public health cautions about safe sex, and media enticements about consumer delights. Sexuality's contradictions are exposed: power and powerless¡ness, self-determination and cultural control, violence and pleasure. Pleasures and Perils illuminates the methodological and ethical issues anthropologists face when they conduct research on sex, especially among girls. The sexually explicit narratives conveyed in this book challenge not only the reader's own thoughts on sexuality but also the broader limits and possibilities of ethnography.
Much has been written about the workings of communist governments in the USSR and the Soviet bloc, yet there is still a great deal to explore regarding their relationship to the everyday lives of the citizens living under them. This third volume builds on the editors’ Style and Socialism and Socialist Spaces, showing how the rise of consumer culture took a unique form in these countries.
Essays from top scholars address topics ranging from fashion and game shows to smoking and camping. The authors of the essays in this collection investigate the ways in which pleasurable activities, like many other facets of daily life, were both a space in which these communist governments tried to insinuate themselves and thereby further expand the reach of their authority,
and also an opportunity for people to assert their individuality.
Through a series of interrelated essays, The Pleasures of Exile explores the cultural politics and relationships created in the crucible of colonization. Drawing on Shakespeare’s The Tempest and C. L. R. James’s The Black Jacobins, as well as his own fiction and poetry, Lamming deftly locates the reader in a specific intellectual and cultural domain while conjuring a rich and varied spectrum of physical, intellectual, psychological, and cultural responses to colonialism. “My subject,” he writes, “is the migration of the West Indian writer, as colonial and exile, from his native kingdom, once inhabited by Caliban, to the tempestuous island of Prospero’s and his language. This book is a report on one man’s way of seeing.”
Mavor’s original approach to these photographs emphatically sees sexuality where it has been previously rendered invisible. She insists that the sexuality of the girls in Carroll’s pictures is not only present, but deserves recognition, respect, and scrutiny. Similarly, she sees in Cameron’s photographs of sensual Madonnas surprising visions of motherhood that outstrip both Victorian and contemporary understandings of the maternal as untouchable and inviolate, without sexuality. Finally she shows how Hannah Cullwick, posing in various masquerades for her secret paramour, emerges as a subject with desires rather than simply a victim of her upper-class partner. Even when confronting the darker areas of these photographs, Mavor perseveres in her insistence on the pleasures taken—by the viewer, the photographer, and often by the model herself—in the act of imagining these sexualities. Inspired by Roland Barthes, and drawing on other theorists such as Julia Kristeva and Luce Irigaray, Mavor creates a text that is at once interdisciplinary, personal, and profoundly pleasurable.
In addition to official sources such as trial dossiers, census records, tax rolls, wills, and notary and military records, Méndez uses a wide variety of previously unexplored sources produced by the mostly Quechua-speaking rebels. She reveals the Huanta rebellion as a complex interaction of social, linguistic, economic, and political forces. Rejecting ideas of the Andean rebels as passive and reactionary, she depicts the barely literate insurgents as having had a clear idea of national political struggles and contends that most local leaders of the uprising invoked the monarchy as a source of legitimacy but did not espouse it as a political system. She argues that despite their pronouncements of loyalty to the Spanish crown, the rebels’ behavior evinced a political vision that was different from both the colonial regime and the republic that followed it. Eventually, their political practices were subsumed into those of the republican state.
One of Dürrenmatt’s most diabolically imagined and constructed novels, The Pledge was adapted for the screen in 2000 in a film directed by Sean Penn and starring Jack Nicholson.
Stern argues that these novels gave voice to a collective mourning over the violence of the Revolution and the foreclosure of liberty for the nation's noncitizens—women, the poor, Native and African Americans. Properly placed in the context of late eighteenth-century thought, the republican novel emerges as essentially political, offering its audience gothic and feminized counternarratives to read against the dominant male-authored accounts of national legitimation.
Drawing upon insights from cultural history and gender studies as well as psychoanalytic, narrative, and genre theory, Stern convincingly exposes the foundation of the republic as an unquiet crypt housing those invisible Americans who contributed to its construction.
In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making.
These illustrated serial novels offered Victorians a reading experience that was both verbal and visual, based on complex effects of flash-forward and flashback as the placement of illustrations revealed or recalled significant story elements. Victorians’ experience of what are now canonical novels thus differed markedly from that of modern readers, who are accustomed to reading single volumes with minimal illustration. Even if modern editions do reproduce illustrations, these do not appear as originally laid out. Modern readers therefore lose a crucial aspect of how Victorians understood plot—as a story delivered in both words and images, over time, and with illustrations playing a key role.
In The Plot Thickens, Mary Elizabeth Leighton and Lisa Surridge uncover this overlooked narrative role of illustrations within Victorian serial fiction. They reveal the intricacy and richness of the form and push us to reconsider our notions of illustration, visual culture, narration, and reading practices in nineteenth-century Britain.
Ennead I.1 is a succinct and concentrated analysis of key themes in Plotinus' psychology and ethics. It focuses on the soul-body relation, discussing various Platonic, Aristotelian, and Stoic views before arguing that there is only a soul-trace in the body (forming with the body a “compound”), while the reasoning soul itself is impassive and flawless. The soul-trace hypothesis is used to account for human emotions, beliefs, and perceptions, and human fallibility in general. Its problematic relation to our rational powers, as well as the question of moral responsibility, are explored. Plotinus develops his original and characteristic concept of the self or “we,” which is so called because it is investigated as something common to all humans (rather than a private individual self), and because it is multiple, referring to the reasoning soul or to the “living thing” composed of soul-trace and body. Plotinus explores the relation between the “we” and consciousness, and also its relation to the higher metaphysical entities, the Good, and Intellect.
How was the universe created, and what is our place within it? These are the questions at the heart of Plotinus’ Against the Gnostics. For the Gnostics, the universe came into being as a result of the soul’s fall from intelligible reality—it is the evil outcome of a botched creation. Plotinus challenges this, and insists that the soul’s creation of the world is the necessary consequence of its contemplation of the ideal forms. While the Gnostics claim to despise the visible universe, Plotinus argues that such contempt displays their ignorance of the higher realities of which the cosmos is a beautiful image.
Against the Gnostics is a polemical text. It aims to show the superiority of Plotinus’ philosophy over that of his Gnostic rivals, and poses unique challenges: Plotinus nowhere identifies his opponents by name, he does not set out their doctrines in any great detail, and his arguments are frequently elliptical. The detailed commentary provides a guide through these difficulties, making Plotinus’ meandering train of thought in this important treatise accessible to the reader.
The introduction offers an overview of ancient demonologies, starting with Homer and the Presocratics, and is followed by an in-depth examination of Plato, the Stoics, Plotinus, and later Neoplatonic developments. As such the book presents Plotinus’ specific rationalizing response to the idea of a guardian spirit in the context of ancient philosophical demonologies.
Plotinus’ On the Voluntary and on the Free Will of the One is a groundbreaking work that provides a new understanding of the importance and nature of free human agency. It articulates a creative idea of agency and radical freedom by showing how such terms as desire, will, self-dependence, and freedom in the human ethical sphere can be genuinely applied to Intellect and the One while preserving the radical inability of all metaphysical language to express anything about God or gods.
Clark examines a variety of Plotinus’s myths and metaphors within the cultural and philosophical context of his time, asking probing questions about their contemplative effects. What is it, for example, to “think away the spatiality” of material things? What state of mind is Plotinus recommending when he speaks of love, or drunkenness, or nakedness? What star-like consciousness is intended when he declares that we were once stars or are stars eternally? What does it mean to say that the soul goes around God? And how are we supposed to “bring the god in us back to the god in all”? Through these rich images and structures, Clark casts Plotinus as a philosopher deeply concerned with philosophy as a way of life.
A Greek edition of Plotinus's philosophical works with notes for students of Classical Greek
Plotinus, the father of Neoplatonism, composed the treatise On Beauty (Ennead 1.6) as the first of a series of philosophical essays devoted to interpreting and elucidating Platonic ideas. This treatise is one of the most accessible and influential of Plotinus's works, and it provides a stimulating entrée into the many facets of his philosophical activity. In this volume Andrew Smith first introduces readers to the Greek of Plotinus and to his philosophy in general, then provides the Greek text of and English notes on Plotinus's systematic argument and engaging exhortation to foster the inner self. The volume ends with the text of and notes on Plotinus's complementary statements in On Intelligible Beauty (Ennead 5.8.1–2).
Features:
- An overview of Plotinus's life
- Background discussion of Plotinus's thought and outline of his philosophical system
- Analysis of the relationship of Plotinus's thought to Plato’s
Hadot carefully examines Plotinus's views on the self, existence, love, virtue, gentleness, and solitude. He shows that Plotinus, like other philosophers of his day, believed that Plato and Aristotle had already articulated the essential truths; for him, the purpose of practicing philosophy was not to profess new truths but to engage in spiritual exercises so as to live philosophically. Seen in this light, Plotinus's counsel against fixation on the body and all earthly matters stemmed not from disgust or fear, but rather from his awareness of the negative effect that bodily preoccupation and material concern could have on spiritual exercises.
The working classes, colonial subjects, European nationalists, and Roman Catholics—these groups generated intense anxiety for Victorian England’s elite public, which often responded by accusing them of being dangerous conspirators. Bringing together a wide range of literary and historical evidence, Albert D. Pionke argues that the pejorative meanings attached to such opportunistic accusations of conspiracy were undermined by the many valorized versions of secrecy in Victorian society.
After surveying England’s evolving theories of representative politics and individual and collective secretive practices, Pionke traces the intersection of democracy and secrecy through a series of case histories. Using works by Thomas Carlyle, Wilkie Collins, Charles Dickens, Benjamin Disraeli, John Henry Newman, and others, along with periodicals, histories, and parliamentary documents of the period, he shows the rhetorical prominence of groups such as the Freemasons, the Thugs, the Carbonari, the Fenians, and the Jesuits in Victorian democratic discourse.
By highlighting the centrality of representations of conspiracy in every case, Plots of Opportunity shows for the first time the markedly similar strategies of repression, resistance, and concealment used by competing agents in the democracy debate.
Plotting Gothic positions the rhetoric of the Gothic as a series of three interlocking plots: a spatial plot tied to the material construction of the churches, a social plot stemming from the collaborative efforts that made Gothic output possible, and a rhetorical plot involving narratives that treat the churches as objects of desire. Drawing on the testimony of three witnesses involved in church building—Abbot Suger of Saint-Denis, Gervase of Canterbury, and the image maker Villard de Honnecourt—and a range of secondary sources, Murray traces common patterns in the way medieval buildings were represented in words and images. Our witnesses provide vital information about the way the great churches of Gothic were built and the complexity of their meanings. Taking a fresh approach to Gothic architecture, Plotting Gothic offers an invigorating new way to understand some of the most lasting achievements of the medieval era.
Balanced precariously between fact and fiction, the historical novel is often viewed with suspicion. Some have attacked it as a mongrel form, a “bastard son” born of “history’s flagrant adultery with imagination.” Yet it includes some of the most celebrated achievements of Russian literature, with Alexander Pushkin, Nikolai Gogol, Leo Tolstoy, and scores of other writers contributing to this tradition.
Dan Ungurianu’s Plotting History traces the development of the Russian historical novel from its inception in the romantic era to the emergence of Modernism on the eve of the Revolution. Organized historically and thematically, the study is focused on the cultural paradigms that shaped the evolution of the genre and are reflected in masterpieces such as The Captain’s Daughter and War and Peace. Ungurianu examines the variety of approaches by which Russian writers combined fact with fiction and explores the range of subjects that inspired the Russian historical imagination.
Outstanding Academic Title, Choice Magazine
“Ungurianu has produced a most valuable work for literary scholars.”—Andrew M. Drozd, Slavic and East European Journal
“[Ungurianu’s] overwhelming knowledge, impeccable documentation, erudite notes, and valuable addenda make for a treasure house of information and keen analysis. . . . Essential.”—Choice
"A thoughtful and lively meditation upon probably the greatest transformation in human history, upon the difficult problems it poses and the scant resources it has left us to solve them."—Charles Larmore, New Republic
Originally published in 1925, Ploughshares into Swords is an expressionist antiwar novel in which Vladislav Vančura tells the story of the denizens of the Ouhrov estate in language as baroque as the manor that ties them all together. The fragmented narrative introduces the reader to such characters as Baron Danowitz, his sons, his French concubine, the farmhand František Hora, and the mentally disabled murderer Řeka in the autumn of 1913, before revealing their fates during World War I. Ranging from the peaceful farmlands of Bohemia to the battlefields of Galicia, taking in the pubs of Budapest and the hospitals of Krakow, the novel constitutes an unsentimental and naturalistic approach to the war that created Czechoslovakia. Ploughshares into Swords is a stunning novel by one of Czech literature’s most important writers. This modernist masterpiece, reminiscent of the work of Isaac Babel and William Faulkner, is now available in English for the very first time.
In Plowshares into Swords, David Ekbladh recaptures the power of knowledge and information developed between World War I and World War II by an international society of institutions and individuals committed to liberal international order and given focus by the League of Nations in Geneva. That information and analysis revolutionized critical debates in a world in crisis. In doing so, Ekbladh transforms conventional understandings of the United States’ postwar hegemony, showing that important elements of it were profoundly influenced by ideas that emerged from international exchanges. The League’s work was one part of a larger transnational movement that included the United States and which saw the emergence of concepts like national income, gross domestic product, and other attempts to define and improve the standards of living, as well as new approaches to old questions about the role of government. Forged as tools for peace these ideas were beaten into weapons as World War II threatened. Ekbladh recounts how, though the US had never been a member of the organization, vital parts of the League were rescued after the fall of France in 1940 and given asylum at the Institute for Advanced Study in Princeton. However, this presence in the US is just one reason its already well-regarded economic analyses and example were readily mobilized by influential American and international figures for an Allied “war of ideas,” plans for a postwar world, and even blueprints for the new United Nations. How did this body of information become so valuable? As Ekbladh makes clear, the answer is that information and analysis themselves became crucial currencies in global affairs: to sustain a modern, liberal global order, a steady stream of information about economics, politics, and society was, and remains, indispensable.
This is an Auto-narrated audiobook version of this book.
An in-depth look at how the ideas formulated by the interwar League of Nations shaped American thinking on the modern global order.
In Plowshares into Swords, David Ekbladh recaptures the power of knowledge and information developed between World War I and World War II by an international society of institutions and individuals committed to liberal international order and given focus by the League of Nations in Geneva. That information and analysis revolutionized critical debates in a world in crisis. In doing so, Ekbladh transforms conventional understandings of the United States’ postwar hegemony, showing that important elements of it were profoundly influenced by ideas that emerged from international exchanges. The League’s work was one part of a larger transnational movement that included the United States and which saw the emergence of concepts like national income, gross domestic product, and other attempts to define and improve the standards of living, as well as new approaches to old questions about the role of government. Forged as tools for peace these ideas were beaten into weapons as World War II threatened. Ekbladh recounts how, though the US had never been a member of the organization, vital parts of the League were rescued after the fall of France in 1940 and given asylum at the Institute for Advanced Study in Princeton. However, this presence in the US is just one reason its already well-regarded economic analyses and example were readily mobilized by influential American and international figures for an Allied “war of ideas,” plans for a postwar world, and even blueprints for the new United Nations. How did this body of information become so valuable? As Ekbladh makes clear, the answer is that information and analysis themselves became crucial currencies in global affairs: to sustain a modern, liberal global order, a steady stream of information about economics, politics, and society was, and remains, indispensable.
Winner of the 2008 Paterson Award for Literary Excellence
"Weaver has crafted a virtual planet in this book with plenty of alternate geographies for readers of all flavors and stripes. Marvelous. Huge. Prodigious.”
—North American Review
Barbara Jefferson, a young American teaching in Tokyo in the 1960s, is set on a life-changing quest when her Japanese surrogate mother, Michi, dies, leaving her a tansu of homemade plum wines wrapped in rice paper. Within the papers Barbara discovers writings in Japanese calligraphy that comprise a startling personal narrative. With the help of her translator, Seiji Okada, Barbara begins to unravel the mysteries of Michi's life, a story that begins in the early twentieth century and continues through World War II and its aftermath.
As Barbara and Seiji translate the plum wine papers they form an intimate bond, with Michi a ghostly third in what becomes an increasingly uneasy triangle. Barbara is deeply affected by the revelation that Michi and Seiji are hibakusha, survivors of the atomic bombing in Hiroshima, and even harder for her to understand are the devastating psychological effects wrought by war. Plum Wine examines human relationships, cultural differences, and the irreparable consequences of war in a story that is both original and timeless.
In this thought-provoking new work, historian Justin M. Jacobs challenges the widely accepted belief that much of Western museums’ treasures were acquired by imperialist plunder and theft. The account reexamines the allegedly immoral provenance of Western collections, advocating for a nuanced understanding of how artifacts reached Western shores. Jacobs examines the perspectives of Chinese, Egyptian, and other participants in the global antiquities trade over the past two and a half centuries, revealing that Western collectors were often willingly embraced by locals. This collaborative dynamic, largely ignored by contemporary museum critics, unfolds a narrative of hope and promise for a brighter, more equitable future—a compelling reassessment of one of the institutional pillars of the Enlightenment.
“Hearing the click behind him, Parker threw his glass straight back over his right shoulder, and dove off his chair to the left.” When a job looks like amateur hour, Parker walks away. But even a squad of seasoned professionals can’t guarantee against human error in a high-risk scam. Can an art dealer with issues unload a truck of paintings with Parker’s aid? Or will the heist end up too much of a human interest story, as luck runs out before Parker can get in on the score?
In the Cameroon grassfields, an area of high fertility, women hold a paradoxical fear of infertility. By combining symbolic, political-economic, and historical analyses, Pamela Feldman-Savelsberg traces the way reproductive threat is invoked in struggles over gender and ethnic identities. Women's fears of reproductive disorders, she finds, are an important mode of expression for their worries about much larger issues, such as rural poverty, brought about or exacerbated by political and economic changes in this century.
A lively case study of an infertile queen who flees the palace sets the stage for discussions of the ethnographic and historical setting, the symbolism of fertility and infertility, and the development and interaction of cosmopolitan and ethno-gynecologies. The book concludes with an analysis of the links between women's role in human reproduction and the divine king's role in social reproduction, both occurring in the rapidly changing context of a multiethnic African nation.
Plundered Kitchens, Empty Wombs underscores the relevance of medical anthropology to other anthropological specializations, as well as to epidemiologists, population specialists, and development planners. It should reach a broad audience in medical anthropology, public health, and women's studies.
Pamela Feldman-Savelsberg is Assistant Professor of Anthropology, Carleton College.
Five decades ago, Native American leaders launched a crusade to force museums to return their sacred objects and allow them to rebury their kin. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to help them recover their looted heritage from museums across the country. As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated firsthand the questions of how to weigh the religious freedom of Native Americans against the academic freedom of scientists and whether the emptying of museum shelves elevates human rights or destroys a common heritage. This book offers his personal account of the process of repatriation, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These specific stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics.
Things, like people, have biographies. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to acknowledge that fact—and heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.
Mabel Finlayson Allred was a wife of Rulon Allred, leader of the Apostolic United Brethren, one of the major groups of fundamentalist Mormons who, since about the 1930s, have practiced plural marriage as separatists from the mainstream Latter-day Saints Church.
Mabel’s autobiography maintains a mood of everyday normalcy strikingly in contrast with the stress of the ostracized life she was living. Her cheerful tone, expressive of her wish to live simply and gracefully in this world, is tempered by more somber descriptions of her personal struggle with clinical depression, of Rulon Allred’s inner struggles, of tensions with the law and with Allred’s fundamentalist colleagues, and ultimately by her forthright account of his assassination.
Emerging from this unique narrative is the portrait of a woman buoyed by faith in both her religion and her husband, a window into the interior life of a woman seeking a resilient simplicity in an uncommonly challenging life.
Plural Wife, conntextualized by Martha Bradley’s introduction, gives us insight into Mabel’s experience of history during an important period of the 20th century and advances our understanding of life ways of 20th century polygamy and the growth of the fundamentalist movement.
Connolly looks at pluralism not only in light of faith but also in relation to evil, ethics, relativism, globalization, and sovereignty. In the process, he engages many writers and theorists—among them, Spinoza, William James, Henri Bergson, Marcel Proust, Gilles Deleuze, Giorgio Agamben, Talal Asad, Michael Hardt, and Antonio Negri. Pluralism is the first book in which Connolly explains the relationship between pluralism and the experience of time, and he offers readings of several films that address how time is understood, including Time Code, Far from Heaven, Waking Life, and The Maltese Falcon. In this necessary book Connolly brings a compelling, accessible philosophical critique together with his personal commitment to an inclusive political agenda to suggest how we might—and why we must—cultivate pluralism within both society and ourselves.
Despite America's pluralistic, fragmented, and generally adversarial political culture, participants in pollution control politics have begun to collaborate to reduce the high costs of developing, implementing, and enforcing regulations. Edward P. Weber uses examples from this traditionally combative policy arena to propose a new model for regulation, "pluralism by the rules," a structured collaborative format that can achieve more effective results at lower costs than typically come from antagonistic approaches.
Weber cites the complexity and high implementation costs of environmental policy as strong but insufficient incentives for collaboration. He shows that cooperation becomes possible when opposing sides agree to follow specific rules that include formal binding agreements about enforcement, commitment to the process by political and bureaucratic leaders, and the ensured access and accountability of all parties involved. Such rules establish trust, create assurances that agreements will be enforced, and reduce the perceived risks of collaboration. Through case studies dealing with acid rain, reformulated gasoline, and oil refinery pollution control, Weber demonstrates the potential of collaboration for realizing a cleaner environment, lower compliance costs, and more effective enforcement.
Challenging the prevailing view that endless conflict in policymaking is inevitable, Pluralism by the Rules establishes a theoretical framework for restructuring the regulatory process.
Pluralist Universalism: An Asian Americanist Critique of U.S. and Chinese Multiculturalisms by Wen Jin is an extended comparison of U.S. and Chinese multiculturalisms during the post–Cold War era. Her book situates itself at the intersection of Asian American literary critique and the growing field of comparative multiculturalism. Through readings of fictional narratives that address the issue of racial and ethnic difference in both national contexts simultaneously, the author models a “double critique” framework for U.S.–Chinese comparative literary studies.
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