A SCHOLARLY BOOK REPOSITORY
Law plays a crucial role in protecting the health of populations. Whether the public health threat is bioterrorism, pandemic influenza, obesity, or lung cancer, law is an essential tool for addressing the problem. Yet for many decades, courts and lawyers have frequently overlooked law’s critical importance to public health. Populations, Public Health, and the Law seeks to remedy that omission. The book demonstrates why public health protection is a vital objective for the law and presents a new population-based approach to legal analysis that can help law achieve its public health mission while remaining true to its own core values.
By looking at a diverse range of topics, including food safety, death and dying, and pandemic preparedness, Wendy E. Parmet shows how a population-based legal analysis that recalls the importance of populations and uses the tools of public health can enhance legal decision making while protecting both public health and the rights and liberties of individuals and their communities.
Representative of the international acclaim accorded Ernst Mayr’s Animal Species and Evolution, published in 1963, is Sir Julian Huxley’s description of it as “a magistral book…certainly the most important study of evolution that has appeared in many years—perhaps since the publication of On the Origin of Species.” In his extraordinary book, Mayr fully explored, synthesized, and evaluated man’s knowledge about the nature of animal species and the part they play in the process of evolution.
In this long-awaited abridged edition, Mayr’s definitive work is made available to the interested nonspecialist, the college student, and the general reader. The author has retained the dominant themes of his original study—themes now more widely accepted than they were in 1963: the species is the most important unit of evolution; individuals (and not genes) are the targets of natural selection, hence the fitness of “a” gene is a nebulous if not misleading concept; and the most important genetic phenomena in species are species-specific regulatory systems that give species internal cohesion.
Each of the twenty chapters of the original edition has been revised; six have been extensively reworked. Discussions of peripheral subjects and massive citations of the literature have been eliminated, but the glossary has been greatly expanded. The focal point of the volume is, naturally, the species—a reproductively isolated aggregate of interbreeding populations. Presenting an overview of evolutionary biology in Chapter 1, Mayr then considers the nature of species, their population structure, their biological interactions, the multiplication of species, and their role in evolution.
Because of the impossibility of experimenting with man and because an understanding of man’s biology is indispensable for safeguarding his future, emphasis throughout the book is placed on those findings from higher animals which are directly applicable to man. The last chapter, “Man as a Biological Species,” is of particular interest to the general reader. Mayr concludes that while modern man appears to be as well adapted for survival purposes as were his ancestors, there is much evidence to suggest that he is threatened by the loss of his most typically human characteristics.
Based on ethnographic and archival research, Marino focuses on performances of the devil figure, tracing this beloved trickster through religious fiestas, mid-century theater and film, and other media as it both antagonizes and unifies a movement against dictatorship and neoliberalism. She then demonstrates that performance became a vehicle through which cultural producers negotiated boundaries of inclusion and exclusion in ways that overcame the simplistic logic of good versus evil, us versus them. The result is a nuanced insight into the process of building political mobilization out of crisis and through monumental times of change.
The book will interest readers of Latin American politics, cultural studies, political science, and performance studies by providing a vital record of the revolution, with valuable insights into its internal dynamics and lessons towards building a populist movement of the left in contentious times.
Populism in Latin America provides a lively, accessible, and up-to- date introduction to the fascinating populist leaders who dominated much of 20th-century Latin American politics.
From the earliest years in the La Plata region to the end of the 1990s, Latin American populists proved amazingly successful at gaining high office, holding onto power, maintaining their followings, and renewing their careers. They raised more campaign money, got more voters to the polls, and held followers' allegiances far better than traditional politicians. Certainly some populist leaders corrupted their countries, others manipulated their followers, and still others disgraced themselves. Nevertheless, populist leaders were extraordinarily effective in reaching masses of voters, and some left positive legacies for future generations. Populism in Latin America provides an in-depth and thought-provoking assessment of the most prominent of these colorful and charismatic leaders, whose impact has been profound yet not fully recognized.
Latin American scholars here survey the populist experiences in those nations most profoundly influenced by this distinctively Latin American way of conducting the public's business--Argentina, Brazil, Chile, Mexico, Peru, Venezuela, Ecuador, and Panama. Joel Horowitz, for example, examines Argentina's strong legacy of populism, beginning with the remarkable Hip-lito Yrigoyen, moving through the archetypal Juan and Evita Perón, and ending with still-active president Carlos Menem. Ximena Sosa-Buchholz provides a fascinating view of populism in Ecuador, a country often overlooked by students of modern politics. Kurt Weyland challenges the notion that neoliberal, or monetarist, economic policies are incompatible with populism. Other populist leaders profiled include Lazaro Cardenas, Romulo Betancourt, and Alberto Fujimori to name a few.
In his epilogue and bibliographic essay, volume editor Michael Conniff suggests new directions for further research and offers a comprehensive survey of the evolution of major writings, theories, and methodologies in the field.
Jorge Basurto / Michael L. Conniff / Paul W. Drake / Steve Ellner / Joel Horowitz /
Kenneth M. Roberts / W. Frank Robinson /Ximena Sosa / Steve Stein / Kurt Weyland
This volume brings together twelve original essays that explore the concept of populism in twentieth century Mexico. Contributors analyze the presidencies of two of the century’s most clearly populist figures, evaluating them against each other and in light of other Latin American and Mexican populist leaders. In order to examine both positive and negative effects of populist political styles, contributors also show how groups as diverse as wild yam pickers in 1970s Oaxaca and intellectuals in 1930s Mexico City had access to and affected government projects.
The chapters on the Echeverría presidency are written by contributors at the forefront of emerging scholarship on this topic and demonstrate new approaches to this critical period in Mexican history. Through comparisons to Echeverría, contributors also shed new light on the Cárdenas presidency, suggesting fresh areas of investigation into the work of Mexico’s quintessentially populist leader. Ranging in approach from environmental history to labor history, the essays in this volume present a complex picture of twentieth century populism in Mexico.
Library of Alabama Classics
Winner of the Albert J. Beveridge Award of the American Historical Association
“In this excellent study of Alabama politics, Hackney deftly analyzes the leadership, following, and essential character of Populism and Progressivism during the period from 1890 to 1910. The work is exceptionally well written; it deals with the personal, social, and political intricacies involved; and it combines traditional and quantitative techniques with a clarity and imagination that should serve as a spur and a model for many future studies.” – Annals of the American Academy of Political and Social Science
“Whatever the ultimate judgment on its conclusions may be, this is an important study and one that should stimulate additional research.
“Hackney has very skillfully integrated his quantitative findings and the results of more traditional research. In this respect the book should for some time be a prime exhibit of the utility of the ‘new political history’ [and] we should receive Hackney’s contribution with both gratitude and admiration.” – Journal of Interdisciplinary History
Sheldon Hackney is a native Alabamian, and -- perhaps aptly -- the son-in-law of courageous Alabama progressives Virginia and Clifford Durr. A student of C. Vann Woodward at Yale, Hackney taught at Princeton University, served as president of Tulane University (1975-80) and the University of Pennsylvania (1981-1993). In 1993 he was appointed by President Clinton as chairman of the National Endowment for the Humanities, where he served until 1997. After his NEH service he returned to the University of Pennsylvania as Boies Professor of United States History.
Sarah E. Van De Vort Emery, a Michigan woman transplanted from the Finger Lakes region of New York, was for many years a voice for Populism in the late 19th century. Emery was a woman who believed and acted on her beliefs that freedom and the flowering of the human potential should not five way to the demands of the "money power."
Populist Revolt was first published in 1931. 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.
When The Populist Revolt was originally published, the New York Times critic called it "far and away the best account of populism that we have—and one not likely to be replaced." That prophecy proved right; the book has not been replaced, and historians and critics agree that it is the definitive work on its subject. Now it is made available once more, after being out of print for some time.
This is a history of the Farmers' Alliance and the People's Party, under whose banners a great crusade for farm relief was waged in the 1880's and 1890's. As important as the chronicle of the political movement itself is the detailed picture which Professor Hicks gives of the conditions which set the stage for this agrarian revolt. He describes the inequities and malpractices which beset both the new settlers of the West and the poverty-ridden whites and Negroes of the South following the Civil War.
The story of Populism itself is a lively one, people with such picturesque leaders as "Pitchfork" Ben Tillman of South Carolina, "Sockless" Jerry Simpson and Mary Elizabeth Lease—the "Patrick Henry in petticoats"—of Kansas, "Bloody Bridles" Waite of Colorado, Thomas E. Watson of Georgia, Dr. C. W. Macune of Texas, James B. Weaver of Iowa, and Ignatius Donnelly of Minnesota.
In these pages, Professor Hicks has, as Frederic L. Paxson pointed out, "presented the case for Populism better than the Populists themselves could do it." Henry Steele Commanger calls the book a "thorough, scholarly, sympathetic and spirited history of the entire Populist movement."
Is Latin America experiencing a resurgence of leftwing governments, or are we seeing a rebirth of national-radical populism? Are the governments of Hugo Chávez, Evo Morales, and Rafael Correa becoming institutionalized as these leaders claim novel models of participatory and direct democracy? Or are they reenacting older traditions that have favored plebiscitary acclamation and clientelist distribution of resources to loyal followers? Are we seeing authentic forms of expression of the popular will by leaders who have empowered those previously disenfranchised? Or are these governments as charismatic, authoritarian, and messianic as their populist predecessors?
This new and expanded edition of Populist Seduction in Latin America explores the ambiguous relationships between democracy and populism and brings de la Torre’s earlier work up to date, comparing classical nationalist, populist regimes of the 1940s, such as those of Juan Perón and José María Velasco Ibarra, with their contemporary neoliberal and radical successors. De la Torre explores their similarities and differences, focusing on their discourses and uses of political symbols and myths.
earlier work up to date, comparing classical nationalist, populist regimes of the 1940s, such as those of Juan Perón and José María Velasco Ibarra, with their contemporary neoliberal and radical successors. De la Torre explores their similarities and differences, focusing on their discourses and uses of political symbols and myths.
Frenzied crowds, talking ravens, the stench of the Tiber River: life in ancient Rome was stimulating, dynamic, and often downright dangerous. The Romans relaxed and gossiped in baths, stole precious water from aqueducts, and partied and dined to excess. Everyone from senators to the enslaved crowded into theaters and circuses to watch their favorite singers, pantomime, and comedies and scream their approval at charioteers. The lucky celebrated their accomplishments with elaborate tombs. Amid pervasive inequality and brutality, beauty also flourished through architecture, poetry, and art.
From the smells of fragrant cookshops and religious sacrifices to the cries of public executions and murderous electoral mobs, Guy de la Bédoyère’s Populus draws on a host of historical and literary sources to transport us into the intensity of daily life at the height of ancient Rome.
Porcelain is a book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein’s hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. The book is at once a history and “declaration of love” to the famed “Venice on the Elbe,” so catastrophically razed by British bombs; a musical fusion of eyewitness accounts, family memories, and stories, of monuments and relics; the story of the city’s destiny as seen through a prism of biographical enigmas, its intimate relation to the “white gold” porcelain that made its fortune and reflections on the power and limits of poetry. Musical, fractured, ironic, and elegiac, Porcelain is controversial, too, in setting itself against what Grünbein calls the “myth” of the Germans as innocent victims of a war crime. At the same time, it never loses sight of the horror deliberately visited on an unwitting civilian population, nor the devastation that looms so large in the German memory. Published for the first time in English, on the seventy-fifth year anniversary of the firebombing, this edition contains new images, notes, Grünbein’s own reflections, and an additional canto—an extraordinary act of poetic kintsugi for the fractured remains of Dresden’s memory.
Hailey writes from a modest porch on the Homosassa River in Florida. He sleeps there, studies the tides, listens for osprey and manatee, welcomes shipwrecked visitors, watches shadows on its screens, reckons with climate change, and reflects on his own acclimation to his environment. The profound connections he unearths anchor an armchair exploration of past porches and those of the future, moving from ancient Greece to contemporary Sweden, from the White House roof to the Anthropocene home. In his ruminations, he links up with other porch dwellers including environmentalist Rachel Carson, poet Wendell Berry, writers Eudora Welty and Zora Neale Hurston, philosopher John Dewey, architect Louis Kahn, and photographer Paul Strand.
As close as architecture can bring us to nature, the porch is where we can learn to contemplate anew our evolving place in a changing world—a space we need now more than ever. Timeless and timely, Hailey’s book is a dreamy yet deeply passionate meditation on the joy and gravity of sitting on the porch.
Why a Gazette? When one stops to think about it, Times or News is easy to understand, but why do some newspapers have strange names such as Jimplecute or Bazoo? And not to be picayune, but why Picayune?
Word sleuth Jim Bernhard stopped to consider such questions and began a quest that resulted in the only book-length account of the history of newspaper titles. Cataloging names from the most common to the most bizarre, Porcupine, Picayune, & Post explores the history and etymology of newspapers’ names—names that, by their very peculiarity, cry out for explanation.
Bernhard focuses on printed general-interest English-language dailies and weeklies, from the Choteau (Montana) Acantha to the Moab (Utah) Zephyr, with everything in between—including the Gondolier of Venice, Florida, and the Iconoclast of Crawford, Texas. He explains why there are more Heralds, Journals, Posts, and Tribunes than you can shake a typestick at. He also goes beyond America’s borders to consider such oddities as the Banbury Cake in England and the Gawler Bunyip in Australia.
As Bernhard shows, the reasons for newspaper names vary: sometimes their origins are political or historical, sometimes personal or simply whimsical. Many names have lost their original purposes over time but were chosen with care to symbolize a philosophy or mission or else were created by word association with the paper’s location or community role.
This book is bursting with little-known facts that will delight anyone who picks up a daily paper: how the Oil City Derrick in Pennsylvania got its name from a seventeenth-century English hangman, why a Londoner printed a newspaper on calico and named it the Handkerchief, and what meaning lurks behind the Unterrified Democrat of Linn, Missouri. There’s even a chapter on noteworthy fictional newspapers, from Superman’s Daily Planet to Lake Wobegon’s Herald-Star.
With the naming of newspapers fast becoming a lost art, Porcupine, Picayune, & Post tells what’s behind the banners we see each day but probably never stop to think about. Thanks to Bernhard, we may never see them in the same way again.
The essays in this collection address the historically and culturally varied interactions between porn and the archive. Topics range from library policies governing access to sexually explicit material to the growing digital archive of "war porn," or eroticized combat imagery; and from same-sex amputee porn to gay black comic book superhero porn. Together the pieces trace pornography as it crosses borders, transforms technologies, consolidates sexual identities, and challenges notions of what counts as legitimate forms of knowledge. The collection concludes with a valuable resource for scholars: a list of pornography archives held by institutions around the world.
Contributors. Jennifer Burns Bright, Eugenie Brinkema, Joseph Bristow, Robert Caserio, Ronan Crowley, Tim Dean, Robert Dewhurst, Lisa Downing, Frances Ferguson, Loren Glass, Harri Kahla, Marcia Klotz, Prabha Manuratne, Mireille Miller-Young, Nguyen Tan Hoang, John Paul Ricco, Steven Ruszczycky, Melissa Schindler, Darieck Scott, Caitlin Shanley, Ramon Soto-Crespo, David Squires, Linda Williams
The essays in this volume move beyond feminist debates and distinctions between a “good” erotica and a “bad” hard core. Contributors examine varieties of pornography from the tradition of the soft-core pin-up through the contemporary hard-core tradition of straight, gay, and lesbian videos and dvds to the burgeoning phenomenon of pornography on the Internet. They explore, as examples of the genre, individual works as divergent as The Starr Report, the pirated Tommy Lee/Pamela Anderson honeymoon video, and explicit Japanese “ladies’ comics” consumed by women. They also probe difficult issues such as the sexualization of race and class and the relationship of pornography to the avant-garde. To take pornography seriously as an object of analysis also means teaching it. Porn Studies thus includes a useful annotated bibliography of readings and archival sources important to the study of pornography as a cultural form.
Contributors. Heather Butler, Rich Cante, Jake Gerli, Minette Hillyer, Nguyen Tan Hoang, Despina Kakoudaki, Franklin Melendez, Ara Osterweil, Zabet Patterson, Constance Penley, Angelo Restivo, Eric Schaefer, Michael Sicinski, Deborah Shamoon, Maria St. John, Tom Waugh, Linda Williams
This volume places pornography at the heart of the 1970s American experience, exploring lesser-known forms of pornography from the decade, such as a new, vibrant gay porn genre; transsexual/female impersonator magazines; and pornography for new users, including women and conservative Christians. The collection also explores the rise of a culture of porn film auteurs and stars as well as the transition from film to video. As the corpus of adult ephemera of the 1970s disintegrates, much of it never to be professionally restored and archived, these essays seek to document what pornography meant to its producers and consumers at a pivotal moment.
In addition to the volume editors, contributors include Peter Alilunas, Gillian Frank, Elizabeth Fraterrigo, Lucas Hilderbrand, Nancy Semin Lingo, Laura Helen Marks, Nicholas Matte, Jennifer Christine Nash, Joe Rubin, Alex Warner, Leigh Ann Wheeler, and Greg Youmans.
Discussing Supreme Court decisions regarding obscenity, Richard F. Hixson highlights the views of Justices William J. Brennan and John Paul Stevens, borrows from the pioneer decisions of Judge Learned Hand, and consults the work of contemporary First Amendment scholars; finally, though, he relies not on public debate or political machinations but on the justices’ own published opinions, which are, as he says, "the most tantalizing documents of all."
Hixson proceeds chronologically through eleven chapters, with each chapter featuring a specific aspect of the constitutional problem and the approach or solution espoused by a particular justice. Through his case-by-case analysis of the many Supreme Court obscenity rulings, Hixson relates each decision to the temper of the times.
In this investigation of the Supreme Court’s dealings with obscenity, Hixson asks—and answers in detail—a series of pertinent questions. Do Congressional politics and public opinion prejudice the Court’s ability to interpret the Constitution fairly? Must adults be treated the same as children? What are the limits, if any, of "content restriction" on obscene materials? How much "expressive activity" is, or should be, protected by the First Amendment? Does pornography discriminate against women? How protective of the individual can the Supreme Court be and, at the same time, allow as many voices as possible to be heard?
Pornography and the Justices differs from other studies of pornography in its unique focus and its fresh conclusion, which is a composite of views garnered from the Supreme Court justices. As long as there is ample protection of minors and nonconsenting adults, Hixson argues, obscenity should be up to the individual. Separating himself from others who have discussed the issue, Hixson contends that the freedom to speak is as important as the freedom to be heard: it is essential to be able to speak whether or not anyone is listening.
For Hixson, the clear trajectory of Supreme Court opinions implies that the freedom to purchase obscene pornographic matter should be restricted only by time, place, and manner considerations. If a person wants pornography, he or she should be able to get it, albeit perhaps from a higher shelf, in a secluded room, or at a theater clearly marked for adults.
In this collection of path-breaking essays, thirteen respected scholars bring critical insights to the reality of porn and what it can tell us about ourselves sexually, culturally, and economically. Moving beyond simplistic feminist and religious positions that cast these films as categorical evils-a collective preserve of sexual perversion, misogyny, pedophilia, and racism-the contributors to this volume raise the bar of the debate and push porn studies into intriguing new territory.
The essays are divided into two sections. The first reprints important debates on the topic and traces the evolution of pornographic film, including comparing its development to that of Hollywood cinema. The second part presents new essays that consider current trends in the field, including pornography's expansion into new technologies.
This book separates this compelling genre from the sensation and shame that have long surrounded and obscured it. It will be of interest to general readers and film scholars alike.
Contributors. Andreas Bandak, Jane Bennett, Tom Boylston, Steven D. Brown, Matei Candea, Alberto Corsín Jiménez, David Henig, Michael Jackson, Daniel M. Knight, Celia Lowe, Morten Nielsen, Stavroula Pipyrou, Elizabeth Povinelli, Andrew Shryock, Arpad Szakolczai
Plato’s most influential disciple and proponent.
Plotinus (AD 204/5–270), possibly of Roman descent, but certainly a Greek in education and environment, was the first and greatest of Neoplatonic philosophers. Practically nothing is known of his early life, but at the age of 28 he went to Alexandria, and studied philosophy with Ammonius “Saccas” for eleven years. Wishing to learn the philosophy of the Persians and Indians, he joined the expedition of Gordian III against the Persians in 243, not without subsequent danger. Aged 40 he settled in Rome and taught philosophy there till shortly before his death. In 253 he began to write, and continued to do so till the last year of his life. His writings were edited by his disciple Porphyry, who published them many years after his master’s death in six sets of nine treatises each (the Enneads).
Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. There is no real trace of Oriental influence on his thought, and he was passionately opposed to Gnosticism. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Muslims, and is still alive today because of its union of rationality and intense religious experience.
The Loeb Classical Library edition of Plotinus is in seven volumes.
In 1978, Lawrence Lee Hewitt became the first manager of the Port Hudson State Historic Site. There, he began collecting photographs related to the Civil War battle. Carefully analyzing a vast and remarkable photographic record of Port Hudson, Hewitt has now brought his four decades of research and collecting together in this book. The quantity, diversity, and in some cases uniqueness of these photos help widen our perspective not only on Port Hudson and the Civil War’s impact on its people and environment, but also on the history of photography.
Together the six cameramen claimed many “firsts,” including the first-ever photograph of soldiers engaged in battle, first exterior shots at night, and first “composition print.” The collection—arranged chronologically—allows readers to follow the changes in the landscape during and after the siege. The sheer range of subjects represented is impressive. A cotton gin, a grist mill, and a Methodist church—all showing signs of damage—caught the eyes of photographers. At the request of a Union soldier’s mother, there was a photograph taken of his burial site. There is even the only known photograph of a Confederate army surrendering. Biographies of the photographers and the captions in this volume also brim with fresh information about both the photographs and the campaign, attesting to the author’s meticulous scholarship and skilled analysis.
Though Port Hudson may never receive the level of attention of Gettysburg or Vicksburg, this well-conceived collection of photographs will make those with a serious interest in the conflict or photography not only reexamine Port Hudson but also the importance of the Civil War’s photographic record.
This fascinating study traces the birth of containerization to Port Newark, New Jersey, in 1956 when trucker Malcom McLean thought of a brilliant new way to transport cargo. It tells the story of how Port Newark grew rapidly as McLean’s idea was backed by both New York banks and the US military, who used containerization to ship supplies to troops in Vietnam. Angus Gillespie takes us behind the scenes of today’s active container shipping operations in Port Newark, talking to the pilots who guide the ships into port, the Coast Guard personnel who help manage the massive shipping traffic, the crews who unload the containers, and even the chaplains who counsel and support the mariners. Port Newark shines a spotlight on the unsung men and women who help this complex global shipping operation run smoothly.
Since McLean's innovation, Port Newark has expanded with the addition of the nearby Elizabeth Marine Terminal. This New Jersey complex now makes up the busiest seaport on the East Coast of the United States. Some have even called it “America’s Front Door.” The book tells the story of the rapid growth of worldwide containerization, and how Port Newark has adapted to bigger ships with deeper channels and a raised bridge. In the end, there is speculation of the future of this port with ever-increasing automation, artificial intelligence, and automation.
Sam Houston's army reached Buffalo Bayou on April 18, 1836, and the ensuing Battle of San Jacinto called attention to the "meandering stream" as a link between the interior of sprawling Texas and the sea.
Early in Texas history, the waterway that would one day be known as the Houston Ship Channel evoked dreams in the minds of the enterprising. How these dreams became realities that surpassed all expectation is the subject of Marilyn McAdams Sibley's The Port of Houston: A History. It is the story of the growth of an unlikely inland port situated at a "tent city" that many Texans thought would die young. It proves, as an early visitor to Houston noted, that future greatness depends not so much on location of port or town as on an enterprising population.
Controversy between dreamers and promoters is a large part of the story. Was Houston or Harrisburg the head of navigation? Was the shallow stream valuable enough to the nation to warrant the costly deep-water dredging? Was Houston or Galveston to command the trade where land and water meet?
As the issues were settled, Houston had spread out to overtake Harrisburg; deep water was achieved in 1914 and was celebrated by ceremonies in which the President of the United States played a part; and Galveston grew into a self-contained island metropolis while Houston became, in the words of Sibley, "the perennial boom town of twentieth-century Texas."
As the Port of Houston continued to grow into a multi-billion-dollar institution serving and served by the cotton, wheat, oil, and space industries, its full economic impact on the city of Houston, the state, and the nation cannot be estimated in dollars and cents. But a glance at the trade statistics in the Appendix alone will give some idea of the world-wide value of this thriving port.
The many interesting illustrations accompanying Mrs. Sibley's story show in graphic terms the growth of a small town on a stream "of a very inconvenient size;—not quite narrow enough to jump over, a little too deep to wade through without taking off your shoes" into an international complex through which almost $4 billion in cargo passed in its fiftieth-anniversary year.
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century.
Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez “ERRE.” Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
A Portable Latin for Gardeners is the perfect quick reference for working in the garden, shopping for plants, or doing botanical research—and no prior knowledge of Latin is required. The 1,500 terms are grouped by categories, making it easy to describe color, size, form, habitat, scent, taste, and time. Gardeners will make new connections and discoveries in a way standard alphabetical lists simply don’t allow. Alternately, gardeners who want to look up a particular term can jump right into the alphabetical index. Each entry includes the different forms of the term, a basic pronunciation guide, the definition, and an example plant species.
Rich botanical illustrations make this guide as beautiful as it is useful, while a durable flexi-bound cover means the book can withstand both days in the garden and evenings on the nightstand.
A study of Cuban culture and media in the twenty-first century as both a global phenomenon and a local reality, at a time when the declared death of socialism coexists in tension with emerging anticapitalist movements worldwide.
Why does Cuban socialism endure as an object of international political desire, while images of capitalist markets consume Cuba’s national imagination? This bold new study argues that Cuba’s changing media cultures are key to our understanding of the global postsocialist condition and its competing political imaginaries.
Portable Postsocialisms calls on a vast multimedia archive to offer a groundbreaking cultural interpretation of Cuban postsocialism. Paloma Duong examines songs, artworks, advertisements, memes, literature, jokes, and networks that refuse exceptionalist and exoticizing visions of Cuba. Expanding postsocialist critical theory to read this complex mediascape, Duong argues that a materialist critique of Cuba’s revolutionary legacy must account for Cubans’ everyday demands for agency and self-representation. This long overdue reassessment of Cuba’s place in Latin American and post-Marxist studies shows Cuban postsocialism to be an urgent and indispensable referent for core debates on the politics of participatory cultures in new media studies. Portable Postsocialisms performs the crucial task of redefining how we envision imaginaries of social change in Latin America and the Caribbean.
In this book, Mary Hill Cole provides a detailed analysis of the progresses. Drawing on royal household accounts, ministerial correspondence, county archives, corporation records, and family papers, she examines the effects of the visits on the queen's household and government, the individual and civic hosts, and the monarchy of the Virgin Queen.
Cole places the progresses in the sixteenth-century world of politics and images, where the queen and her hosts exchanged ceremonial messages that advanced their own agendas. The heart of the progresses was the blend of politics, socializing, and ceremony that enabled the queen to accomplish royal business on the move while satisfying the needs of those courtiers, townspeople, and country residents who welcomed her into their communities.
While all Renaissance monarchs engaged in occasional travel, in Elizabeth's case the progresses provided the settings in which she crafted her royal authority. Although the trips inconvenienced the government and strained her treasury, Elizabeth found power in the turmoil of an itinerant court and in a continuing ceremonial dialogue with her subjects.
"Two readings have convinced me that this is a fiction of extraordinary power and thoughtfulness. . . . [A] remarkable novel."—Bernard Bergonzi, Times Literary Supplement
"In this tour de force Mr. Steiner makes his reader re-examine, to whatever conclusions each may choose, a history from which we would prefer to avert our eyes."—Edmund Fuller, Wall Street Journal
"Portage largely avoids both the satisfactions of the traditional novel and the horrifying details of Holocaust literature. Instead, Steiner has taken as his model the political imaginings of an Orwell or Koestler. . . . He has produced a philosophic fantasy of remarkable intensity."—Otto Friedrich, Time
Tracy Fuad’s second collection of poems, PORTAL, probes the fraught experience of bringing a new life into a world that is both lush and filled with gloom. A baby is born in a brutalist building; the planet shrinks under the new logic of contagion; roses washed up from a shipwreck centuries ago are blooming up and down the cape. PORTAL documents a life that is mediated, even at its most intimate moments, by flattening interfaces of technology and in which language—and even intelligence—is no longer produced only by humans. The voices here are stalked by eco-grief and loneliness, but they also brim with song and ecstasy, reveling in the strangeness of contemporary life while grieving losses that cannot be restored. Through Fuad’s frank, honest poetry, PORTAL vibrates with pleasure and dread.
Peeling back the surfaces of words to reveal their etymologies, Fuad embraces playfulness through her formal range, engaging styles from the tersely lineated to the essayistic as she intertwines topics of replication, reproduction, technology, language, history, and biology.
A Portal in Space, set in Basra, Iraq, during the Iran-Iraq War (1980–1988), follows the lives of Anwar, a newly minted architect, and the other members of his affluent family as they attempt to maintain a sense of normality during the frequent bombing attacks from Iran. When Anwar joins the Iraqi army and then goes missing in action, his family struggles to cope with uncertainty over his fate. His mother falls into depression and secludes herself in the family home, while his father shifts his attention from his duties as a judge to the weekly pilgrimage to Baghdad seeking information on his son—and to Zahra, the young widow he meets there.
Emotionally engaging, A Portal in Space is a wry, wise tale of human beings striving to retain their humanity during a war that is anything but humane. Mahmoud Saeed succeeds brilliantly in bringing the sights and sounds of Iraq to life on the page—whether in a bunker on the front lines of the Iran-Iraq War or in the parlor of a fortune-teller in Baghdad. As Zahra says of the novel she is writing: “It is a normal novel that contains love, war, life, deceit, and death.”
From his vantage point near the tiny twin communities of Portal and Paradise on the eastern slopes of the Chiricahuas, Hayes brings the famous and the not-so-famous together in a profile of this striking landscape, showing how place can be a powerful formative influence on people's lives. When Hayes first arrived in 1941 to manage his new father-in-law's apple orchard, he met folks who had been born in Arizona before it became a state. Even if most had never personally worried about Indian attacks, they had known people who had. Over the years, Hayes heard the handed-down stories about the area's early days of Anglo settlement. He also researched census records, newspaper archives, and the files of the Arizona Historical Society to uncover the area's natural history, prehistory, Spanish and Mexican regimes, and particularly its Anglo history from the mid nineteenth century to the beginning of World War II. His book is a rich account of the region and more, a celebration of rural life, brimming with tales of people whose stories were shaped by the landscape.
Today the Chiricahuas are a magnet for outdoor enthusiasts and the site of the American Museum of Natural History's Southwestern Research Station—and still a rugged area that remains off the beaten track. Hayes brings his straightforward and articulate style to this captivating account of earlier days in southeastern Arizona and opens up a portal to paradise for readers everywhere.
Portals: A Treatise on Internet-Distributed Television pushes understandings of the business of television to keep pace with the considerable technological change of the last decade. It explains why shows such as Orange is the New Black or Transparent are indeed television despite coming to screens over internet connection and in exchange for a monthly fee. It explores how internet-distributed television is able to do new things – particularly, allow different people to watch different shows chosen from a library of possibilities. This technological ability allows new audience behaviors and new norms in making television.
Portals are the “channels” of internet-distributed television, and Portals identifies how the task of curating a library of shows differs from channels’ task of building a schedule. It explores the business model—subscriber funding—that supports many portals, and identifies the key differences from advertiser or direct purchase. Portals considers what we know about the future of television, even though we remain early in a process of transformative change.
Portland, Oregon, is often cited as one of the most livable cities in the United States and a model for "smart growth." At the same time, critics deride it as a victim of heavy-handed planning and point to its skyrocketing housing costs as a clear sign of good intentions gone awry. Which side is right? Does Portland deserve the accolades it has received, or has hype overshadowed the real story?
In The Portland Edge, leading urban scholars who have lived in and studied the region present a balanced look at Portland today, explaining current conditions in the context of the people and institutions that have been instrumental in shaping it. Contributors provide empirical data as well as critical insights and analyses, clarifying the ways in which policy and planning have made a difference in the Portland metropolitan region.
Because of its iconic status and innovative approach to growth, Portland is an important case study for anyone concerned with land use and community development in the twenty-first century. The Portland Edge offers useful background and a vital overview of region, allowing others to draw lessons from its experience.
Incorporating social history and contemporary scholarship in his narrative, Abbott examines current metropolitan character and issues, giving close attention to historical background. He explores the context of opportunities and problems that have helped to shape the rich mosaic that is Portland.
This revised and updated second edition includes greater attention to the Indigenous peoples of the Portland region, Portland’s communities of color, and the challenges of recent years that have thrust Portland into the national spotlight.
A highly readable character study of a city, and enhanced by more than sixty historic and contemporary images, Portland in Three Centuries will appeal to readers interested in Portland, in Oregon, and in Pacific Northwest history.
William “Bill” Sumio Naito (1925–1996) was a remarkable and visionary individual—the Portland-born son of Japanese immigrants who became one of the city’s most significant business and civic leaders. Every day thousands of people drive on Naito Parkway alongside Portland’s Waterfront Park, yet little has been written about the man for whom it was named.
In this first biography, Erica Naito-Campbell, Bill’s granddaughter, shows how his story is also the story of Portland, the city he loved. Naito’s life, from the Great Depression and World War II through Portland’s rebirth in the 1970s and its profound growth, tracked most of the major events in the city and was the catalyst for many of them. Through hard-earned success in importing and real estate with his brother Sam, Naito came to wield considerable power in the city, and his leadership led to much of what we consider iconic Portland today: the “Portland Oregon” sign near the Burnside Bridge, the annual Christmas tree in Pioneer Courthouse Square, and Harbor Drive’s conversion to Waterfront Park.
Naito’s name became synonymous with civic leadership, whether it was growing Portland’s urban tree canopy, revitalizing its downtown, or preserving historic buildings. But less is known about his difficult childhood—with a father who worked twelve-hour days and a mother whose treatment of him was harsh at best—and the racism he endured during World War II. After the expulsion of Japanese Americans following Pearl Harbor and his military service in Occupied Japan, Naito overcame great emotional turmoil to return to Portland and become one of its greatest change-makers.
Erica Naito-Campbell uses anecdotes, rich details, and previously unknown stories about Bill Naito to bring Portland’s history to life—while acknowledging that the cost of his success was a family rife with resentments and envy. Her book reveals the emotional wounds that drove Naito to become one of Portland’s most inspiring civic leaders, a pivotal player in the city’s journey from a moribund downtown to a national model for livability, urban renewal, and historic preservation.
Illustrations played a key role in American literary culture despite the fact there was little demand for books by American writers. Indeed, most of the illustrated books bought, sold, and shared by Americans were either imported British works or reprinted versions of those imported editions. As a result, in addition to embellishing books, illustrations provided readers with crucial information about the country’s status as a former colony.
Through an examination of readers’ portrait-collecting habits, writers’ employment of ekphrasis, printers’ efforts to secure American-made illustrations for periodicals, and engravers’ reproductions of British book illustrations, Walsh uncovers in late eighteenth-century America a dynamic but forgotten visual culture that was inextricably tied to the printing industry and to the early US literary imagination.
The Chicago Symphony Orchestra has been led by a storied group of conductors. And from 1994 to 2015, through the best work of Daniel Barenboim, Pierre Boulez, Bernard Haitink, and Riccardo Muti, Andrew Patner was right there. As a classical music critic for the Chicago Sun-Times and WFMT radio, Patner was able to trace the arc of the CSO’s changing repertories, all while cultivating a deep rapport with its four principal conductors.
This book assembles Patner’s reviews of the concerts given by the CSO during this time, as well as transcripts of his remarkable radio interviews with these colossal figures. These pages hold tidbits for the curious, such as Patner’s “driving survey” that playfully ranks the Maestri he knew on a scale of “total comfort” to “fright level five,” and the observation that Muti appears to be a southpaw on the baseball field. Moving easily between registers, they also open revealing windows onto the sometimes difficult pasts that brought these conductors to music in the first place, including Boulez’s and Haitink’s heartbreaking experiences of Nazi occupation in their native countries as children. Throughout, these reviews and interviews are threaded together with insights about the power of music and the techniques behind it—from the conductors’ varied approaches to research, preparing scores, and interacting with other musicians, to how the sound and personality of the orchestra evolved over time, to the ways that we can all learn to listen better and hear more in the music we love. Featuring a foreword by fellow critic Alex Ross on the ethos and humor that informed Patner’s writing, as well as an introduction and extensive historical commentary by musicologist Douglas W. Shadle, this book offers a rich portrait of the musical life of Chicago through the eyes and ears of one of its most beloved critics.
Portrait of a Giving Community is based on a nationwide survey of the giving habits of Pakistani-Americans. This study, the first of its kind, not only examines the history, demography, and institutional geography of Pakistani-Americans but also looks at how this immigrant community manages its multiple identities through charitable giving and volunteering. It provides a snapshot in time of a generous and giving community whose philanthropy has become increasingly “American” without being less “Pakistani.”
Who are the Pakistani-Americans? What is the extent of their diaspora giving to Pakistan? What can be done to increase and channel their philanthropy for more equitable development in Pakistan? How much do they give within the U.S. and to causes unrelated to Pakistan? How does this community manage the hyphen in “Pakistani-American”? These are some of the questions that motivate this book.
Herzfeld explores how personal vision intersects with national cultures by examining the Greek author's novels and recollections as historical accounts. Bringing together the methods of the novelist and the anthropologist in their common concern with both social and lived experience, Herzfeld shows how different perspectives shape the historical record. Nenedakis has endured persecution, exile, imprisonment, and torture under Greece's military dictatorship, and his novels—excerpted here in English for the first time—offer an individual version of historical events. As one of his characters ask, "For was not his life, and are not the lives of all of us, a novel?"
Before embarking on these experiments, however, Perec tried his hand at a relatively straightforward novel, Portrait of a Man. His first book, it was rejected by publishers when he submitted it in 1960, after which he filed it away. Decades after Perec’s death, David Bellos discovered the manuscript, and through his translation we have a chance to enjoy it in English for the first time. What fans will find here is a thriller that combines themes that would remain prominent in Perec’s later work, such as art forgery, authenticity, and murder, as well as craftsman Gaspard Winckler, who whose namesakes play major roles in Life A User’s Manual and W or The Memory of Childhood.
Engaging and entertaining on its own merits, and gaining additional interest when set in the context of Perec’s career, Portrait of a Man is sure to charm the many fans of this postmodern master.
"Portrait of a Marriage is as close to a cry from the heart as anybody writing in English in our time has come, and it is a cry that, once heard, is not likely ever to be forgotten. . . . Unexpected and astonishing."—Brendan Gill, New Yorker
"The charm of this book lies in the elegance of its narration, the taste with which their son has managed to convey the real, enduring quality of his parents' love for each other."—Doris Grumbach, New Republic
Two hundred and thirty-four striking photographs of the port of Boston combine with interpretive commentary to recapture the flavor, buoyancy, and excitement of the city’s years as one of the two or three great American ports. After the Civil War Boston underwent a radical and successful transformation from a declining mercantile home port to an important and competitive modern seaport. At the same time the transition from sail to steam was taking place. Photographic studies of deep water sail and steam vessels, naval ships, fishing boats, catboats, tugs, schooners, and sloops, and of the picturesque wharves—all create a kaleidoscopic visual history of these years of change.
The volume offers, as well, some of the most distinguished early work in photography, including the widest selection ever published of photographs by pioneer marine photographer Nathaniel Stebbins.
Accompanied by new illustrations that have never been printed before, this new edition includes an afterword that recounts the author’s participation as a witness and his introduction of new evidence in the third trial. It also chronicles Beckwith’s last years of declining health behind bars, examines the rich scholarship on Evers and civil rights that has arisen since this book’s original appearance, and reflects on the catastrophic persistence of Beckwith’s ideology— Christian nationalism and white supremacy—in our own times.
Several stark premises have long prevailed in our approach to Russian history. It was commonly assumed that Russia had always labored under a highly centralized and autocratic imperial state. The responsibility for this lamentable state of affairs was ultimately assigned to the profoundly agrarian character of Russian society. The countryside, home to the overwhelming majority of the nation’s population, was considered a harsh world of cruel landowners and ignorant peasants, and a strong hand was required for such a crude society.
A number of significant conclusions flowed from this understanding. Deep and abiding social divisions obstructed the evolution of modernity, as experienced “naturally” in other parts of Europe, so there was no Renaissance or Reformation; merely a derivative Enlightenment; and only a distorted capitalism. And since only despotism could contain these volatile social forces, it followed that the 1917 Revolution was an inevitable explosion resulting from these intolerable contradictions—and so too were the blood-soaked realities of the Soviet regime that came after. In short, the sheer immensity of its provincial backwardness could explain almost everything negative about the course of Russian history.
This book undermines these preconceptions. Through her close study of the province of Nizhnii Novgorod in the nineteenth century, Catherine Evtuhov demonstrates how nearly everything we thought we knew about the dynamics of Russian
society was wrong. Instead of peasants ground down by poverty and ignorance, we find skilled farmers, talented artisans and craftsmen, and enterprising tradespeople. Instead of an exclusively centrally administered state, we discover effective and participatory local government. Instead of pervasive ignorance, we are shown a lively cultural scene and an active middle class. Instead of a defining Russian exceptionalism, we find a world recognizable to any historian of nineteenth-century Europe.
Drawing on a wide range of Russian social, environmental, economic, cultural, and intellectual history, and synthesizing it with deep archival research of the Nizhnii Novgorod province, Evtuhov overturns a simplistic view of the Russian past. Rooted in, but going well beyond, provincial affairs, her book challenges us with an entirely new perspective on Russia’s historical trajectory.
Sebastián H. Páramo renders a semi-autobiographical collection, utilizing self-portraiture and memory to uncover how his Texan, working-class, Mexican American identity shapes his relationship to his half brother and to his family’s burning desire to become American.
Portrait of Us Burning begins with the humble picture of an immigrant American family. This picture starts to disintegrate—and, ultimately, burns—with the need to understand an inciting event that haunts the family throughout the second half of the collection. As the poems gather force and the picture dissolves further, Páramo asks us again and again: What does it mean to burn while becoming a part of a whole?
Frans Hals was one of the greatest portrait painters in history, and his style transformed ideas and expectations about what portraiture can do and what a painting should look like.
Hals was a member of the great trifecta of Dutch Baroque painters alongside Rembrandt and Vermeer, and he was the portraitist of choice for entrepreneurs, merchants, professionals, theologians, intellectuals, militiamen, and even his fellow artists in the Dutch Golden Age. His works, with their visible brush strokes and bold execution, lacked the fine detail and smooth finish common among his peers, and some dismissed his works as sloppy and unfinished. But for others, they were fresh and exciting, filled with a sense of the sitter’s animated presence captured with energy and immediacy.
Steven Nadler gives us the first full-length biography of Hals in many years and offers a view into seventeenth-century Haarlem and this culturally rich era of the Dutch Republic. He tells the story not only of Hals’s life, but also of the artistic, social, political, and religious worlds in which he lived and worked.
Highlights include an affectionate treatment of Leo Szilard, the physicist whose involvement with the development of the atomic bomb led him to work ceaselessly to address its social consequences; a discussion of the educational philosophy of Robert Maynard Hutchins, the University of Chicago's fifth and most controversial president; an appreciative account of the Polish emigré Leopold Labedz's well-informed and outspoken resistance to Communism; and an essay about the extraordinary Indian writer Nirad Chaudhuri.
Many of these essays have appeared in The American Scholar, edited by Joseph Epstein, who introduces this volume with his own portrait of Edward Shils.
"Though professionally a sociologist, Edward Shils was a man of wide cosmopolitan culture and experience, greatly concerned with the public problems of his time: in particular with those created by the rise of new and dangerous ideologies, the frightening possibilities of science, and the apparent abrogation of public responsibility by many Western intellectuals."—Hugh Trevor-Roper
The late Edward Shils was a member of the University of Chicago's Committee on Social Thought for forty-five years and a fellow of Peterhouse, Cambridge University. His many books include The Calling of Sociology and The Intellectuals and the Powers, both published by the University of Chicago Press.
Photography offered an inexpensive and readily available technology for producing portraits and other images that allowed lower- and middle-class racialized subjects to create their own distinct rhetoric and vision of their culture. The powerful identity-marking vehicle that photography provided to the masses has been overlooked in much of Latin American cultural studies—which have focused primarily on the elite’s visual arts. Coronado's study offers close readings of Andean photographic archives from the early- to mid-twentieth century, to show the development of a consumer culture and the agency of marginalized groups in creating a visual document of their personal interpretations of modernity.
A spirit of religious revival blazed across the United States just after 1900. With a focus on Holy Spirit power, early adherents stirred an enthusiastic response, first at a Bible school in Topeka and then in a small mission on Asuza Street in Los Angeles. Almost immediately, the movement spread to Houston, Chicago, and then northeastern urban centers. By the early 1910s the fervor had reached most parts of the United States, Canada, and northern Mexico, and eventually the converts called themselves pentecostals. Today there are pentecostals all over the world. From the beginning the movement was unusually diverse: women and African Americans were active in many of the early fellowships, and although some groups were segregated, some were interracial. Everytwhere, ordinary people passionately devoted themselves to salvation, Holy Ghost baptism evidenced by speaking in tongues, divine healing, and anticipation of the Lord’s imminent return.
This movement saw itself as leaderless, depending on individual conversion and a radical equality of souls — or, as early devotees would say, on the Holy Spirit. But a closer look reveals a host of forceful, clear-eyed leaders. This volume offers twenty biographical portraits of the first-generation pioneers who wove the different strands of Holy Spirit revivalism into a coherent and dramatically successful movement.
In 2003, Jorge Mario Múnera won the Latino and Latin American Art Forum Prize at Harvard University, which entitled him to produce and present an exhibit at Harvard’s David Rockefeller Center for Latin American Studies. By this time, Múnera had already produced an important body of work, revealing even the farthest corners of his native Colombia through his photographs of people and their traditions.
Portraits of an Invisible Country, which bears the name of the exhibit he presented at Harvard in 2004, is the culmination of a five-year collaboration between the photographer and the curator of the show, José Luis Falconi. It comprises a book of essays with insightful reflections on Múnera’s diverse body of work and a series of sixteen photo posters, which together highlight the photographer’s travels within Colombia and his careful depiction of his countrymen and women.
Renowned in Colombia as one of the most prolific and influential photographers of his generation, Múnera was the first recipient of the National Photography Award in Colombia in 1998. Since then, numerous international accolades have followed, chief among them as the first photographer to hold the Andrés Bello Chair of the King Juan Carlos Center at New York University.
A collection of new essays on notable historic and contemporary Basques of America's Far West that offers a perceptive and lively examination of the lives of one of the West's most resilient and successful ethnic minorities. It is essential reading for anyone interested in the Basque people or those interested in the process of immigration and assimilation: these profiles illustrate how America's Basque immigrants have achieved success in mainstream society while retaining strong ties to their ancient Old World culture.
The publication of Portraits of John Quincy Adams and His Wife makes available a record which both affords unique visual documentation of the most varied political career in American history and exemplifies the work of the principal American portraitists from the days of Copley and Stuart to the dawn of the Daguerrean era. Included in the volume's 159 illustrations are all the known life portraits, busts, and silhouettes of John Quincy and Louisa Catherine Adams, along with important replicas, copies, engravings, and representative likenesses of their siblings.
The book is organized into seven chapters which generally coincide with the major divisions of John Quincy Adams' political career. Within each chapter are discussed the artists, their relationships with the Adams's, and the provenance of each of their works. A comprehensive chronology of John Quincy Adams' life for each period accompanies the chapter to which it pertains. All important information about the size of each likeness, the inscriptions if any, the date executed, and present ownership where known is summarized in the List of Illustrations.
The Adams's, as they watched themselves age over the years in the marble, ink, or oil of the artists who portrayed them, recorded much by way of commentary on the artistic talent and process at hand. Andrew Oliver, in his detailed and lively discussions of each likeness, makes full use of the diaries and correspondence preserved in the Adams Papers, thus combining a learned appreciation with an intimate glimpse of Adams's as they saw themselves. The volume continues the record of Adams family portraiture begun with Portraits of John and Abigail Adams. The two volumes together constitute Series IV of the distinguished Adams Papers publications.
The most complete translation available of these brief biographies of great European figures, written by one of the leading historians of the sixteenth century.
Portraits of Learned Men provides a fascinating synopsis of the contours, mentality, and trajectory of humanistic culture in Italy and Europe by one of the leading historians of the sixteenth century, Paolo Giovio (1483–1552). These brief biographies of 146 men of learning—from Dante, Petrarch, and Boccaccio in the fourteenth century to Erasmus, Thomas More, and Juan Luis Vives in the sixteenth—were meant to accompany accurate portrait paintings commemorating great figures in modern history. Presented together with the literary portraits in this volume, these paintings would be located in a purpose-built villa on Lake Como that would be open to the public. Giovio called this his musaeum, or home of the Muses, one of the first such institutions in European history. His museum would not only serve the traditional function of inspiring virtuous emulation but also provide a comprehensive, candid, and personal overview of the Republic of Letters as it had taken shape and flourished in Italy and Europe during the Renaissance.
This volume contains a fresh edition of the Latin text and a new, more complete translation than any now available in English.
Portraits of Medieval and Renaissance Living opens with Herlihy's final summary of his views on family history, followed by a reminiscence by his most important collaborator, Christiane Klapisch-Zuber. The first group of essays takes us inside specific familial settings, using recent methods in anthropological, legal, and women's studies to uncover new dimensions of medieval and Renaissance family life. A second group of studies focuses on the question of authority in medieval society and advances new theses about politics and society in Florence and other local settings. The final group of authors considers the special circumstances of town and countryside in Italy, England, and Spain and draws insightful generalizations across territorial and national boundaries.
Like Herlihy's own work, these essays present innovative and challenging hypotheses about significant problems in the history of medieval and Renaissance Europe. Important new material on Florence, family history, religion, the Inquisition, and taxation is presented for the first time, but the essays are not simply technical exercises focused on small or isolated pieces of research. Thus the volume will go beyond the interest of specialists in medieval and Renaissance social history and will attract a wide audience of students and scholars.
Samuel K. Cohn, Jr., is Professor of History, Brandeis University. Steven Epstein is Professor of History, University of Colorado.
Profiles of triumph and hardship amid massive inequality in Latin America.
Each chapter of Portraits of Persistence, a project of the University of Texas Urban Ethnography Lab, offers an intimate portrait of one or two individual lives. The subjects are a diverse group of individuals from across the continent: grassroots activists and political brokers, private security entrepreneurs, female drug dealers, shantytown dwellers, and rural farmers, as well as migrants finding routes into and out of the region. Through these accounts, the writers explore issues that are common throughout today's world: precarious work situations, gender oppression, housing displacement, experiences navigating the bureaucracy for asylum seekers, state violence, environmental devastation, and access to good and affordable health care. Carefully situating these experiences within the sociohistorical context of their specific local regions or countries, editor Javier Auyero and his colleagues consider how people make sense of the paths their lives have taken, the triumphs and hardships they have experienced, and the aspirations they hold for the future. Ultimately, these twelve compelling profiles offer unique and personal windows into the region’s complex and multilayered reality.
Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes.
Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding panoramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war.
Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contributors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
With Portraits of Shakespeare, Katherine Duncan-Jones poses a series of questions about the mysterious physical appearance of the brilliant writer of plays, poems, and sonnets: Why is it so difficult to find images of Shakespeare that were made during his lifetime? Which images are most likely to have been made by those close to the writer? And why do newly discovered images emerge with such startling regularity? With an eye toward answering these questions, the book begins with a broad analysis of the tradition of the “author portrait” before, during, and after Shakespeare’s lifetime. Duncan-Jones provides a detailed critique of three of the most widely accepted portraits: the engraving facing the First Folio’s title page; the sculptured stone bust that adorns Shakespeare’s funerary monument at Holy Trinity Church, Stratford-upon-Avon; and the “Chandos portrait,” an early seventeenth-century painting on canvas which is widely recognized as the best image. Through a painstaking historical analysis of the painting’s early history and provenance, Duncan-Jones arrives at a plausible new identification of both the artist and the artist’s personal connections with Shakespeare. Finally, taking the book into the present, she considers the afterlife of all three images in memorials, advertising, and in graphic art—all evidence of a continuing desire to put a face to one of literature’s most famous names.
Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.
In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.
As archaeologists recover the lost treasures of Alexandria, the modern world is marveling at the latter-day glory of ancient Egypt and the Greeks who ruled it from the ascension of Ptolemy I in 306 B.C. to the death of Cleopatra the Great in 30 B.C. The abundance and magnificence of royal sculptures from this period testify to the power of the Ptolemaic dynasty and its influence on Egyptian artistic traditions that even then were more than two thousand years old.
In this book, Paul Edmund Stanwick undertakes the first complete study of Egyptian-style portraits of the Ptolemies. Examining one hundred and fifty sculptures from the vantage points of literary evidence, archaeology, history, religion, and stylistic development, he fully explores how they meld Egyptian and Greek cultural traditions and evoke surrounding social developments and political events. To do this, he develops a "visual vocabulary" for reading royal portraiture and discusses how the portraits helped legitimate the Ptolemies and advance their ideology. Stanwick also sheds new light on the chronology of the sculptures, giving dates to many previously undated ones and showing that others belong outside the Ptolemaic period.
Suzannah Biernoff draws on a wide variety of sources mainly from WWI but also contemporary photography and computer games. Each chapter revolves around particular images: Marine Wedding is discussed alongside Stuart Griffiths’ portraits of British veterans; Henry Tonks’ drawings of WWI facial casualties are compared to the medical photographs in the Gillies Archives; the production of portrait masks for the severely disfigured is approached through the lens of documentary film and photography; and finally the haunting image of one of Tonks’s patients reappears in BioShock, a highly successful computer game. The book simultaneously addresses a neglected area in disability studies; puts disfigurement on the agenda for art history and visual studies; and makes a timely and provocative contribution to the literature on the First World War.
The author's argument on behalf of portraiture (and he draws on examples by such artists as Botticelli, Rembrandt, Matisse, Warhol and Hockney) does not comprise a mere survey of the genre, nor is it a straightforward history of its reception. Instead, Brilliant presents a thematic and cogent analysis of the connections between the subject-matter of portraits and the beholder's response – the response he or she makes to the image itself and to the person it represents. Portraiture's extraordinary longevity and resilience as a genre is a testament to the power of this imaginative transaction between the subject, the artist and the beholder.
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