A SCHOLARLY BOOK REPOSITORY
Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heartrending photos of Manhattan’s poor in late nineteenth-century New York, Walker Evans’s iconic images of tenant farmers in west Alabama, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.
While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.
As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.
Glenn’s rhetorical feminism offers an alternative to hegemonic rhetorical histories, theories, and practices articulated in Western culture. This alternative theory engages, addresses, and supports feminist rhetorical practices that include openness, authentic dialogue and deliberation, interrogation of the status quo, collaboration, respect, and progress. Rhetorical feminists establish greater representation and inclusivity of everyday rhetors, disidentification with traditional rhetorical practices, and greater appreciation for alternative means of delivery, including silence and listening. These tenets are supported by a cogent reconceptualization of the traditional rhetorical appeals, situating logos alongside dialogue and understanding, ethos alongside experience, and pathos alongside valued emotion.
Threaded throughout the book are discussions of the key features of rhetorical feminism that can be used to negotiate cross-boundary mis/understandings, inform rhetorical theories, advance feminist rhetorical research methods and methodologies, and energize feminist practices within the university. Glenn discusses the power of rhetorical feminism when applied in classrooms, the specific ways it inspires and sustains mentoring, and the ways it supports administrators, especially directors of writing programs. Thus, the innovative theory of rhetorical feminism—a theory rich with tactics and potentially broad applications—opens up a new field of research, theory, and practice at the intersection of rhetoric and feminism.
A highly developed study of the relationships between rhetoric and public culture.
One of the most widely used ideas in scholarship of the humanities and social sciences is that of homology: a formal pattern structuring different kinds of texts, ideas, and experiences. Rhetorical Homologies explores the central meaning of this form in a variety of discourses and also examines the kind of homologies that shape audience responses to personal, public, and political issues. Barry Brummett is most interested in homologies among very different orders of experience and texts: experiences on the battlefield that are homologous to those at a dining room table, for instance. What the common patterns that underlie such cases mean, why they are interesting, and why homology is rhetorical are the subjects of this study.
Brummett focuses on a wide range of topics, from the homologies between rhetoric and weapons throughout history to the homology of ritual injuries as manifested in representations of Christian martyrs, Laurel and Hardy films, the African-American practice of playing the dozens, and televised professional wrestling. Brummett also explores the homology of the Wise Woman, using rhetorical representations of Sojourner Truth and Oprah Winfrey. In a concluding chapter, Brummett argues that the idea of homology is important in understanding how social life is organized in general and that the centrality of discourse in organizing experience makes rhetorical homologies an important perspective for general knowledge beyond the boundaries of this study.
Extending the feminist rhetorical project to define and model rhetorical listening
Long-ignored within rhetoric and composition studies, listening has returned to the disciplinary radar. Rhetorical Listening: Identification, Gender, Whiteness argues that rhetorical listening facilitates conscious identifications needed for cross-cultural communication.
Krista Ratcliffe establishes eavesdropping, listening metonymically, and listening pedagogically as approaches to rhetorical listening. She defines and models rhetorical listening, addressing identifications with gender and whiteness within public debates, scholarship, and pedagogy. Offering an approach grounded in classical rhetorical theory, Heideggerian theory, feminist theory, and critical race theory, Ratcliffe presents rhetorical listening as an invention tactic that engages spoken and written texts and supplements reading, writing, speaking, and silence as a rhetorical art.
Theorizing intersections of gender and whiteness, Rhetorical Listening examines how whiteness functions as an "invisible" racial category and provides disciplinary and cultural reasons for the displacement of listening and for the use of rhetorical listening as a code of cross-cultural conduct. Ratcliffe presents rhetorical listening in terms of cultural logics, stances, and dominant interpretive tropes. She highlights the modern identification theory of Kenneth Burke and the postmodern identification and disidentification theory of Diana Fuss and presents nonidentification as a more productive site for rhetorical listening.
Rhetorical Machines addresses new approaches to studying computational processes within the growing field of digital rhetoric. While computational code is often seen as value-neutral and mechanical, this volume explores the underlying, and often unexamined, modes of persuasion this code engages. In so doing, it argues that computation is in fact rife with the values of those who create it and thus has powerful ethical and moral implications. From Socrates’s critique of writing in Plato’s Phaedrus to emerging new media and internet culture, the scholars assembled here provide insight into how computation and rhetoric work together to produce social and cultural effects.
This multidisciplinary volume features contributions from scholar-practitioners across the fields of rhetoric, computer science, and writing studies. It is divided into four main sections: “Emergent Machines” examines how technologies and algorithms are framed and entangled in rhetorical processes, “Operational Codes” explores how computational processes are used to achieve rhetorical ends, “Ethical Decisions and Moral Protocols” considers the ethical implications involved in designing software and that software’s impact on computational culture, and the final section includes two scholars’ responses to the preceding chapters. Three of the sections are prefaced by brief conversations with chatbots (autonomous computational agents) addressing some of the primary questions raised in each section.
At the heart of these essays is a call for emerging and established scholars in a vast array of fields to reach interdisciplinary understandings of human-machine interactions. This innovative work will be valuable to scholars and students in a variety of disciplines, including but not limited to rhetoric, computer science, writing studies, and the digital humanities.
In places where Indigenous language translation and interpretation are greatly needed, Indigenous language mediators often lack adequate systems to professionalize their field while withstanding Western practices that do not align with their worldviews. Through a “design thinking” methodology based on her work organizing and participating in an Indigenous-focused interpreter and translator conference, Rivera examines testimonios and semi-structured interviews conducted with Indigenous interpreters and translators to emphasize dialogue and desahogo (emotional release) as Indigenous communication practices.
The Rhetorical Mediator advocates for Indigenous language practices that have been sidelined by Western scholarship and systems, helping to create more equitable processes to directly benefit Indigenous individuals and other underrepresented groups. This book benefits specialists, including UX researchers, technical and professional communicators, interpreters and translators, and Indigenous professionals, as well as academics teaching graduate and undergraduate methods, Indigenous rhetoric and translation, and UX courses.
In Rhetorical Memory, Stewart Whittemore demonstrates that strategies we use to manage information—techniques often acquired through trial and error, rarely studied, and generally invisible to us—are as important to our success as the end products of our work. First, he situates information management within the larger field of rhetoric, showing that both are tied to purpose, audience, and situation. He then dives into an engaging and tightly focused workplace study, presenting three cases from a team of technical communicators making use of organizational memory during their everyday work. By examining which techniques succeed and which fail, Whittemore illuminates the challenges faced by technical communicators. He concludes with a number of practical strategies to better organize information, that will help employees, managers, and anyone else suffering from information overload.
Locating rhetorical studies at the confluence of literature and politics, Black focuses on the ideological component of seemingly literary texts and the use of literary devices to advance political advocacy. The essays collected here range in subject matter from nineteenth-century oratory to New York Times editorials to the rhetoric of Richard Nixon. Unifying the collection are the concerns of secrecy and disclosure, identity, opposition, the scope of argument in public persuasion, and the historical mutability of rhetorical forms.
The first book to explore rhetorical refusals—instances in which speakers and writers deliberately flout the conventions of rhetoric and defy their audiences’ expectations— Rhetorical Refusals: Defying Audiences’ Expectations challenges the reader to view these acts of academic rebellion as worthy of deeper analysis than they are commonly accorded, as rhetorical refusals can simultaneously reveal unspoken assumptions behind the very conventions they challenge, while also presenting new rhetorical strategies.
Through a series of case studies, John Schilb demonstrates the deeper meanings contained within rhetorical refusals: when dance critic Arlene Croce refused to see a production that she wrote about; when historian Deborah Lipstadt declined to debate Holocaust deniers; when President Bill Clinton denied a grand jury answers to their questions; and when Frederick Douglass refused to praise Abraham Lincoln unequivocally. Each of these unexpected strategies revealed issues of much greater importance than the subjects at hand. By carefully laying out an underlying framework with which to evaluate these acts, Schilb shows that they can variously point to the undue privilege of authority; the ownership of truth; the illusory divide between public and private lives; and the subjectivity of honor.
According to Schilb, rhetorical refusals have the potential to help political discourse become more inventive. To demonstrate this potential, Schilb looks at some notable cases in which invitations have led to unexpected results: comedian Stephen Colbert’s brazen performance at the White House Press Association dinner; poet Sharon Olds’s refusal to attend the White House Book Fair, and activist Cindy Sheehan’s display of an anti-war message at the 2006 State of the Union Address.
Rhetorical Refusals explores rhetorical theories in accessible language without sacrificing complexity and nuance, revealing the unspoken implications of unexpected deviations from rhetorical norms for classic political concepts like free debate and national memory. With case studies taken from art, politics, literature, and history, this book will appeal to scholars and students of English, communication studies, and history.
Kathy Eden explores the intersection of early modern literary theory and practice. She considers the rebirth of the rhetorical art—resulting from the rediscovery of complete manuscripts of high-profile ancient texts about rhetoric by Plato, Aristotle, Cicero, Quintilian, and Tacitus, all unavailable before the early fifteenth century—and the impact of this art on early modern European literary production. This profound influence of key principles and practices on the most widely taught early modern literary texts remains largely and surprisingly unexplored.
Devoting four chapters to these practices—on status, refutation, similitude, and style—Eden connects the architecture of the most widely read classical rhetorical manuals to the structures of such major Renaissance works as Petrarch’s Secret, Castiglione’s Book of the Courtier, Erasmus’s Antibarbarians and Ciceronianus, and Montaigne’s Essays. Eden concludes by showing how these rhetorical practices were understood to work together to form a literary masterwork, with important implications for how we read these texts today.
Rhetoric and writing studies often engages technological shifts reactively, after the production and reception of rhetoric and writing has changed. This collection allows rhetoric and writing scholars to explore modes of critical speculation into the transformative effect of emerging technologies, particularly as a means to speculate on future shifts in the intellectual, pedagogical, and institutional frameworks of the field. In doing so, the project repositions rhetoric and writing scholars as proprietors of our technological future to come rather than as secondary receivers, critics, and adjusters of the technological present.
Major and emerging voices in the field offer a range of styles that include pragmatic, technical, and philosophical approaches to the issue of speculative rhetoric, exploring what new media/writing studies could be—theoretically, pedagogically, and institutionally—as future technologies begin to impinge on the work of writing. Rhetorical Speculations is at the cutting edge of the subject of futures thinking and will have broad appeal to scholars of rhetoric, literacy, futures studies, and material and popular culture.
Contributors:
Bahareh Brittany Alaei, Sarah J. Arroyo, Kristine L. Blair, Geoffrey V. Carter, Sid Dobrin, Kristie S. Fleckenstein, Steve Holmes, Kyle Jensen, Halcyon Lawrence, Alexander Monea, Sean Morey, Alex Reid, Jeff Rice, Gregory L. Ulmer, Anna Worm
Laura Wilder fills a gap in the scholarship on writing in the disciplines and writing across the curriculum with this thorough study of the intersections between scholarly literary criticism and undergraduate writing in introductory literature courses. Rhetorical Strategies and Genre Conventions in Literary Studies is the first examination of rhetorical practice in the research and teaching of literary study and a detailed assessment of the ethics and efficacy of explicit instruction in the rhetorical strategies and genre conventions of the discipline.
Using rhetorical analysis, ethnographic observation, and individual interviews, Wilder demonstrates how rhetorical conventions play a central, although largely tacit, role in the teaching of literature and the evaluation of student writing. Wilder follows a group of literature majors and details their experiences. Some students received experimental, explicit instruction in the special topoi, while others received more traditional, implicit instruction.
Arguing explicit instruction in disciplinary conventions has the potential to help underprepared students, Wilder explores how this kind of instruction may be incorporated into literature courses without being overly reductive. Taking into consideration student perspectives, Wilder makes a bold case for expanding the focus of research in writing in the disciplines and writing across the curriculum in order to grasp the full complexity of disciplinary discourse.
The Rhetorical Turn moves from biology to politics via excursions into the rhetorics of psychoanalysis, decision science, and conversational analysis. Topics explored include how rhetorical invention guides scientific invention, how rhetoric assists political judgment, and how it integrates varying approaches to meta-theory. Concluding with four philosophical essays, this volume of case studies demonstrates how the inventive and persuasive dimensions of scholarly discourse point the way to forms of argument appropriate to our postmodern age.
During the past several decades, the twentieth century Holocaust has become a defining event in many histories. This newfound respect for the Judeocide has been cathartic for both individuals and communities, in that it provides evidence that audiences around the world are rethinking the significance of the World War II narratives of bystanders, perpetrators, and victims. Given the complexities of these issues, scholars who are interested in studying Holocaust memory make choices about the questions on which they focus, the artifacts they select for analysis, and the perspectives they want to present.
Hasian reviews how national and international courts have used Holocaust trials as forums for debates about individuated justice, historical record keeping, and pedagogical memory work. He concludes that the trials involving Auschwitz, Demjanjuk, Eichmann, Finta, Nuremberg, Irving, Kastner, Keegstra, Sawoniuk, and Zündel are highly problematic. The author provides a rhetorical analysis of holocaust trials as a way of looking into the question of what role court proceedings play in the creation of Holocaust collective memories.
As psychoanalysis approaches its second century, it seems no closer to being a science than when Freud first invented the discipline. All the clinical experience of the past hundred years, Donald Spence tells us in this trenchant book, has not overcome a tendency to decouple theory from evidence. Deprived of its observational base, theory operates more like shared fantasy. In support of this provocative claim, Spence mounts a powerful critique of the way psychoanalysis functions—as a clinical method and as a scholarly discipline or “science.” In the process, he prescribes an antidote for the uncontrolled rhetoric that currently governs psychoanalytic practice.
The reliance on rhetoric is the problem Spence identifies, and he attributes the troubling lack of progress in psychoanalysis to its outmoded method of data collection and its preference for fanciful argument over hard fact. Writing to Jung in 1911, Freud admitted that he “was not at all cut out to be an inductive researcher—I was entirely meant for intuition.” His intuitive approach led him to retreat form traditional Baconian principles of inductive investigation and to move toward a more Aristotelian approach that emphasized choice specimens and favorite examples, played down replication, and depended on arguments based on authority. Detailing this development, with particular attention to the role of self-analysis in the Freudian myth and the evidential drawbacks of the case study genre, Spence shows how psychoanalysis was set on its present course and how rhetorical maneuvers have taken the place of evidence.
With this diagnosis, Spence offers a remedy—an example of the sort of empirical research that can transform clinical wisdom into useful knowledge. His book holds out the hope that, by challenging the traditions and diminishing the power rhetoric, psychoanalysis can remain a creative enterprise, but one based on a solid scientific foundation.
The volume is especially timely in light of the growing interest in "microhistory," and in the histories that are emerging from nonliterary documents. Chapters consider numerous genres, including hagiography, epistolary and verse biography, and less familiar forms such as parodic prosopography, life-writing in funeral sermons, and comic martyrology.
Contributors to the volume come from history, art history, and literature, and they include F.W. Conrad, Sheila ffolliott, Robert Kolb, James Mehl, Diana Robin, T.C. Price Zimmerman, and Elizabeth Goldsmith and Abby Zanger, among others.
Thomas F. Mayer is Associate Professor of History, Augustana College. D. R. Woolf is Professor of History, Dalhousie University.
Becoming a mother profoundly alters one’s perception of the world, as Lindal Buchanan learned firsthand when she gave birth. Suddenly attentive to representations of mothers and mothering in advertisements, fiction, film, art, education, and politics, she became intrigued by the persuasive force of the concept of motherhood, an interest that unleashed a host of questions: How is the construct defined? How are maternal appeals crafted, presented, and performed? What do they communicate about gender and power? How do they affect women? Her quest for answers has produced Rhetorics of Motherhood, the first book-length consideration of the topic through a feminist rhetorical lens.
Although both male and female rhetors employ motherhood to promote themselves and their agendas, Buchanan argues it is particularly slippery terrain for women—on the one hand, affording them authority and credibility but, on the other, positioning them disadvantageously within the gendered status quo. Rhetorics of Motherhood investigates that paradox by detailing the cultural construction and performance of the Mother in American public discourse, tracing its use and impact in three case studies, and by theorizing how, when, and why maternal discourses work to women’s benefit or detriment. In the process, the reader encounters a fascinating array of issues—including birth control, civil rights, and abortion—and rhetors, ranging from Diane Nash and Margaret Sanger to Sarah Palin and Michelle Obama.
As Buchanan makes clear, motherhood is a rich site for investigating the interrelationships among gender, power, and public discourse. Her latest book contributes to the discipline of rhetoric by attending to and making a convincing case for the significance of this understudied subject. With its examination of timely controversies, contemporary and historical figures, and powerful women, Rhetorics of Motherhood will appeal to a wide array of readers in rhetoric, communications, American studies, women’s studies, and beyond.
In Rhetorics of the Digital Nonhumanities, author Alex Reid fashions a potent vocabulary from new materialist theory, media theory, postmodern theory, and digital rhetoric to rethink the connections between humans and digital media. Addressed are the familiar concerns that scholars have with digital culture: how technologies affect attention spans, how digital media are used to compose, and how digital rhetoric is taught.
Rhetoric is now regularly defined as including human and nonhuman actors. Each actor influences the thoughts, arguments, and sentiments that journey through systems of processors, algorithms, humans, air, and metal. The author’s arguments, even though they are unnerving, orient rhetorical practices to a more open, deliberate, and attentive awareness of what we are truly capable of and how we become capable. This volume moves beyond viewing digital media as an expression of human agency. Humans, formed into new collectives of user populations, must negotiate rather than command their way through digital media ecologies.
Chapters centralize the most pressing questions: How do social media algorithms affect our judgment? How do smart phones shape our attention? These questions demand scholarly practice for attending the world around us. They explore attention and deliberation to embrace digital nonhuman composition. Once we see this brave new world, Reid argues, we are compelled to experiment.
Makes accessible to modern readers the 17th-century rhetorics of Thomas Hobbes (1588–1677) and Bernard Lamy (1640–1715)
Hobbes’ A Briefe of the Art of Rhetorique, the first English translation of Aristotle’s rhetoric, reflects Hobbes’ sense of rhetoric as a central instrument of self-defense in an increasingly fractious Commonwealth. In its approach to rhetoric, which Hobbes defines as “that Faculty by which wee understand what will serve our turne, concerning any subject, to winne beliefe in the hearer,” the Briefe looks forward to Hobbes’ great political works De Cive and Leviathan.
Published anonymously in France as De l’art de parler, Lamy’s rhetoric was translated immediately into English as The Art of Speaking. Lamy’s long association with the Port Royalists made his works especially attractive to English readers because Port Royalists were engaged in a vicious quarrel with the Jesuits during the last half of the 17th century.
This is a historical review of the development of our knowledge of the clinical picture, etiology, pathogenesis, and prevention of rheumatic fever and rheumatic heart disease over the past four centuries. Benedict Massell examines the major contributions of both clinicians and investigators to our current understanding of rheumatic fever as a separate disease form.
Elucidating many facts about this dread disease, Massell examines the frequent epidemics in training camps during World War II, discusses our growing understanding of the pathogenesis and mechanisms by which streptococcal infections cause the disease, and shows the important progress made in prevention through the use of penicillin and other antibiotics. He includes a discussion of the many problems which can hinder our understanding and control of this disease, as well as recent promising developments in the clarification of the molecular structure of the streptococcal protein and the possible application of this information to the development of a safe and effective vaccine for the prevention of streptococcal infection.
Rheumatic Fever in America and Britain is the first book to examine comprehensively a disease that has been a moving target for physicians and health care workers. A disease of skin, brain, heart, connective tissue, blood, tonsils, and joints bound to a member of the streptococcus family of bacteria, this illness has practically disappeared from the present-day scene. Yet in 1940 more than one million Americans suffered from the heart disease that followed the ravages of rheumatic fever. It struck nearly 2 percent of all school-aged children, filling hospitals, convalescent homes, and special schools.
Rheumatic fever rose in prevalence throughout the nineteenth century, reaching its peak in that century's last decades, and then steadily declined-both in occurrence and severity-throughout the twentieth century. In the nineteenth century, acute rheumatic fever was largely a disease of children and young adults. Another remarkable epidemiological change occurred during the twentieth century; rheumatic fever shifted its character, became milder, and in doing so allowed its victims to live longer, if disabled lives. As this disease so altered, adults increasingly became its victims.
Dr. Peter C. English explores both the shifting biological nature of this disease and the experiences of physicians and patients who fought its ravages. Using insights from biology, epidemiology, and social history, Dr. English-both a physician and medical historian-is uniquely suited to unravel this disease's epidemiological and cultural complexities.
Enright chronicles the vexed interactions between humans and rhinos, from early sightings that mistook the rhinoceros for the mythical unicorn to the eighteenth-century display of the rhinoceros in Europe as a wonder of nature and its introduction to the American public in 1830. The rhinoceros has long been a prized hunting object as well, whether for its horn as a valuable ingredient in Asian medicine or as a coveted trophy by nineteenth-century big-game hunters such as Theodore Roosevelt, and the book explains how such practices have led to the rhino’s status as an endangered species. Enright also considers portrayals of the animal in film, literature, and art, all in the service of discovering whether the reputed savagery of the rhino is a reality or a legacy of its mythic past.
A wide-ranging, highly illustrated study, Rhinoceros will be essential for scholars and animal lovers alike.
One animal left India in 1515, caged in the hold of a Portuguese ship, and sailed around Africa to Lisbon—the first of its species to see Europe for more than a thousand years. The other crossed the Atlantic from South America to Madrid in 1789, its huge fossilized bones packed in crates, its species unknown. How did Europeans three centuries apart respond to these two mysterious beasts—a rhinoceros, known only from ancient texts, and a nameless monster? As Juan Pimentel explains, the reactions reflect deep intellectual changes but also the enduring power of image and imagination to shape our understanding of the natural world.
We know the rhinoceros today as “Dürer’s Rhinoceros,” after the German artist’s iconic woodcut. His portrait was inaccurate—Dürer never saw the beast and relied on conjecture, aided by a sketch from Lisbon. But the influence of his extraordinary work reflected a steady move away from ancient authority to the dissemination in print of new ideas and images. By the time the megatherium arrived in Spain, that movement had transformed science. When published drawings found their way to Paris, the great zoologist Georges Cuvier correctly deduced that the massive bones must have belonged to an extinct giant sloth. It was a pivotal moment in the discovery of the prehistoric world.
The Rhinoceros and the Megatherium offers a penetrating account of two remarkable episodes in the cultural history of science and is itself a vivid example of the scientific imagination at work.
The Marquis de Lafayette and the French Navy join Nathanael Green, John Sullivan, and a Continental Army to Attach a British Stronghold in New England
On July 29, 1778, a powerful French naval squadron sailed confidently to the entrance of Narragansett Bay. Its appearance commenced the first joint French and American campaign of the Revolutionary War. The new allies’ goal was to capture the British garrison at Newport, Rhode Island. With British resolve reeling from the striking patriot victory at Saratoga the previous autumn, this French and American effort might just end the war.
As the French moved into the bay, surprised British captains scuttled or burned many of their vessels rather than risk capture, resulting in the most significant loss of warships suffered by the British navy during the war. French Admiral Comte d’Estaing then turned to sea to engage the main British fleet but his ships were scattered and damaged by a huge storm. After his flagship and two other ships were attacked, d’Estaing’s squadron was taken out of the campaign. The American army under General John Sullivan, meanwhile, was stranded on a small island near Newport without the expected French naval support. When they tried to retreat off the island, British and Hessian regulars were sent to destroy Sullivan’s army; instead of a rout, a running battle ensued that lasted for more than six hours. Continentals, brimming with confidence after their training during the winter of Valley Forge, once more proved that they were an effective fighting force. While the Rhode Island Campaign ended in failure for the Americans and French, there were positive signs for the future of the alliance and the Revolution.
The Rhode Island Campaign: The First French and American Operation of the Revolutionary War unravels one of the most complex and multi-faceted events of the war, one which combined land and sea strategies and featured controversial decisions on both sides. Many prominent patriots participated, including Nathanael Greene, Marquis de Lafayette, John Hancock, and Paul Revere. Most important, while the campaign’s failure led to harsh criticism of the French in some quarters, leaders such as Greene, Lafayette, and George Washington steadfastly worked to ensure that the alliance would remain intact, knowing that the next joint operation could well succeed. Relying on in-depth research from American, French, British, and German original sources, author Christian McBurney has written the most authoritative book on this fascinating episode in American history.
But there is a darker side to these gorgeous flowers. Daphne du Maurier used the red rhododendron as a symbol of blood in her best-selling novel Rebecca, and numerous Chinese folktales link the plant with tragedy and death. It can poison livestock and intoxicate humans, and its narcotic honey has been used as a weapon of war. Rhododendron ponticum has run riot across the British countryside, but the full story of this implacable invader contains many fascinating surprises.
In this beautifully illustrated volume, Richard Milne explores the many ways in which the rhododendron has influenced human societies, relating this to the extraordinary story of the plant’s evolution. Over one thousand species of the plant exist, ranging from rugged trees on Himalayan slopes to rock-hugging alpines, and delicate plants perched on rainforest branches. Milne relays tales of mythical figures, intrepid collectors, and eccentric plant breeders. However much you may think you know about the rhododendron, this charming book will offer something new.
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Because it distorts the proportionate size of countries, the Mercator map was criticized for inflating Europe and North America in a promotion of colonialism. In 1974, German historian Arno Peters proffered his own map, on which countries were ostensibly drawn in true proportion to one another. In the ensuing "map wars" of the 1970s and 1980s, these dueling projections vied for public support—with varying degrees of success.
Widely acclaimed for his accessible, intelligent books on maps and mapping, Monmonier here examines the uses and limitations of one of cartography's most significant innovations. With informed skepticism, he offers insightful interpretations of why well-intentioned clerics and development advocates rallied around the Peters projection, which flagrantly distorted the shape of Third World nations; why journalists covering the controversy ignored alternative world maps and other key issues; and how a few postmodern writers defended the Peters worldview with a self-serving overstatement of the power of maps. Rhumb Lines and Map Wars is vintage Monmonier: historically rich, beautifully written, and fully engaged with the issues of our time.
Despite its global popularity, rap has received little scholarly attention in terms of its poetic features. Rhymes in the Flow systematically analyzes the poetics (rap beats, rhythms, rhymes, verse and song structures) of many notable rap songs to provide new insights on rap artistry and performance. Defining and describing the features of what rappers commonly call flow, the authors establish a theory of the rap line as they trace rap’s deepest roots and stylistic evolution—from Anglo-Saxon poetry to Lil Wayne—and contextualize its complex poetics. Rhymes in the Flow helps explain rap’s wide appeal by focusing primarily on its rhythmic and thematic power, while also claiming its historical, cultural, musical, and poetic importance.
Rhymin’ and Stealin’ begins with a crucial premise: the fundamental element of hip-hop culture and aesthetics is the overt use of preexisting material to new ends. Whether it is taking an old dance move for a breakdancing battle, using spray paint to create street art, quoting from a famous speech, or sampling a rapper or 1970s funk song, hip-hop aesthetics involve borrowing from the past. By appropriating and reappropriating these elements, they become transformed into something new, something different, something hip-hop. Rhymin’ and Stealin’ is the first book-length study of musical borrowing in hip-hop music, which not only includes digital sampling but also demonstrates a wider web of references and quotations within the hip-hop world. Examples from Nas, Jay-Z, A Tribe Called Quest, Eminem, and many others show that the transformation of preexisting material is the fundamental element of hip-hop aesthetics. Although all music genres use and adapt preexisting material in different ways, hip-hop music celebrates and flaunts its “open source” culture through highly varied means. It is this interest in the web of references, borrowed material, and digitally sampled sounds that forms the basis of this book—sampling and other types of borrowing becomes a framework with which to analyze hip-hop music and wider cultural trends.
Contributors: Kevin M. Carragee, Suffolk U; Catherine Corrigall-Brown, U of California, Irvine; Myra Marx Ferree, U of Wisconsin, Madison; Richard Flacks, U of California, Santa Barbara; Adria D. Goodson; Richard Healy and Sandra Hinson, Grassroots Policy Project; David Meyer, U of California, Irvine; Cynthia Peters, Worker Education Program of the Service Employees International Union, Local 2020; Barbara Risman, North Carolina State U; Robert J. S. Ross, Clark U; Leila J. Rupp, U of California, Santa Barbara; Cassie Schwerner, Schott Foundation; Valerie Sperling, Clark U; David A. Snow, U of California, Irvine; Verta Taylor, U of California, Santa Barbara.
David Croteau is formerly associate professor of sociology and anthropology at Virginia Commonwealth University. William Hoynes is professor of sociology and director of media studies at Vassar College. Charlotte Ryan is codirector of the Media Research and Action Project at Boston College. William A. Gamson is professor of sociology at Boston College.
Mirroring the music of New Orleans, Kane's poems combine traditional form with improvisational flourishes. Rhythm & Booze charts her progress as she undertakes a number of journeys, from youth to experience, from blues bars to college classrooms, from city to country, from chaos to something approaching peace.
What’s in a name? “Rock” or “Rock ’n’ Roll?” Grayck argues that rock and roll is actually a performance style, one in a number of musical styles comprising rock. What distinguishes rock, Gracyk tells us, is how it is mediated by technology: The art is in the recording. The lesson is a heady one, entailing a tour through the history of rock music from Elvis Presley’s first recordings in 1954 to Kurt Cobain’s suicide in 1994. Gracyk takes us through key recordings, lets us hear what rock musicians and their critics have to say, shows us how other kinds of music compare, and gives us the philosophical background to make more than passing sense of the medium. His work takes up the common myths and stereotypes about rock, popular and academic, and focuses on the features of the music that electrify fans and consistently generate controversy. When Elvis came to town, did southern sheriffs say that rock was barbaric and addictive? Well so did Theodor Adorno, in his way, and Allan Bloom, in his, and Gracyk takes aim at this charge as it echoes through the era of recorded music. He looks at what rock has to do with romanticism and, even more, with commercialism. And he questions the orthodoxy of making grand distinctions between “serious” and “popular” art.
Keenly attuned to the nuances of music and of all the ways that we can think about it, this exhilarating book tunes us in, as no other has, to the complex role of rock in American culture.
Vincent Barletta explores rhythm through three historical moments, each addressing it as a phenomenon that transcends poetry, aesthetics, and even temporality. He reveals rhythm to be a power that holds us in place, dispossesses us, and shapes the foundations of our world. In these moments, Barletta encounters rhythm as a primordial and physical binding force that establishes order and form in the ancient world, as the anatomy of lived experience in early modern Europe, and as a subject of aesthetic and ethical questioning in the twentieth century.
A wide-ranging book covering a period spanning two millennia and texts from over ten languages, Rhythm will expand the conversation around this complex and powerful phenomenon.
In the 1930s, swing music reigned, and the Jimmie Lunceford Orchestra was the hottest and hippest attraction on the black dance circuits. Known for its impeccable appearance and infectious rhythms, Lunceford's group was able to out-swing and outdraw any band. For ten consecutive years, they were the best-loved attraction at Harlem's famed Apollo Theater. The group's hit recordings sold in the hundreds of thousands, and Jimmie Lunceford's band rivaled Ellington's for popularity in the African American community.
Jimmie Lunceford was also an innovator, elevating big-band showmanship to an art and introducing such novel instruments as the electric guitar and bass. The band's arrangements, written by Sy Oliver, Edwin Wilcox, Gerald Wilson, Billy Moore, Jr., and Tadd Dameron, were daring and forward looking, influencing generations of big-band writers.
Rhythm Is Our Business traces the development of the Jimmie Lunceford Orchestra from its infant days as a high school band in Memphis to its record-breaking tours across the United States, Canada, and Europe. The book also unveils Lunceford's romantic yet ill-fated involvement with Yolande Du Bois, daughter of famous writer and opinion leader W.E.B. Du Bois. And by reconstructing Lunceford's last day, the book offers a glimpse into the mysteries surrounding the leader's untimely death. This is essential reading for anyone interested in the history and legacy of swing.
Eddy Determeyer has been a freelance music journalist for more than three decades. In 1984 Determeyer wrote a seven-part series on Jimmie Lunceford for the Dutch magazine Jazz Nu. Determeyer has written thousands of articles on music for a variety of Dutch publications and is the author of several books. He currently produces the Holiday for Hipsters radio show for Dutch station Concertzender.
Cover image: Lunceford brass section, ca. late 1936. Left to right: Paul Webster, Eddie Durham, Sy Oliver, Elmer Crumbley, Eddie Tompkins, Russell Bowles. (Bertil Lyttkens Collection)
A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image
Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco engages with both philosophy and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing”—a fugitive mode that privileges contingency and calls up the forgotten fluidity of forms. In asking what it would mean to take this rhythm as an ontological force in its own right, she creatively draws on thinkers such as Giorgio Agamben, Roland Barthes, Gilles Deleuze, and Luce Irigaray. Rhythm emerges here as a form that eludes measure, a key to redefining the relation between the aesthetic and the political, and thus a pivotal means of resistance to power.
Working with constellations of films and videos by international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception.
Ultimately, the book reconceives the relation between rhythm and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
"This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."—New York Times Book Review
"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."—Notes
". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."—Journal of Music Theory
The late GROSVENOR W. COOPER, author of Learning to Listen, was professor of music at the University of California at Santa Cruz.
Acclaimed author Peter Fryer describes how slaves, mariners and merchants brought African music from Angola and the ports of East Africa to Latin America. In particular, they brought it to Brazil – today the country with the largest black population of any outside Africa. Fryer examines how the rhythms and beats of Africa were combined with European popular music to create a unique sound and dance tradition. Fryer focuses on the political nature of this musical crossover and the role of an African heritage in the cultural identity of Brazilian blacks today.
Rhythms of Resistance is an absorbing account of a theme in global music and is rich in fascinating historical detail.
"Collecting essays by fourteen expert contributors into a trans-oceanic celebration and critique, Mamadou Diouf and Ifeoma Kiddoe Nwankwo show how music, dance, and popular culture turn ways of remembering Africa into African ways of remembering. With a mix of Nuyorican, Cuban, Haitian, Kenyan, Senegalese, Trinidagonian, and Brazilian beats, Rhythms of the Afro-Atlantic World proves that the pleasures of poly-rhythm belong to the realm of the discursive as well as the sonic and the kinesthetic."
---Joseph Roach, Sterling Professor of Theater, Yale University
"As necessary as it is brilliant, Rhythms of the Afro-Atlantic World dances across, beyond, and within the Black Atlantic Diaspora with the aplomb and skill befitting its editors and contributors."
---Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic
Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are the living evidence of a constant (re)composition and (re)mixing of local sounds and gestures.
Rhythms of the Afro-Atlantic World distinguishes itself as a collection focusing on the circulation of cultural forms across the Atlantic world, tracing the paths trod by a range of music and dance forms within, across, or beyond the variety of locales that constitute the Atlantic world. The editors and contributors do so, however, without assuming that these paths have been either always in line with national, regional, or continental boundaries or always transnational, transgressive, and perfectly hybrid/syncretic. This collection seeks to reorient the discourse on cultural forms moving in the Atlantic world by being attentive to the specifics of the forms---their specific geneses, the specific uses to which they are put by their creators and consumers, and the specific ways in which they travel or churn in place.
Mamadou Diouf is Leitner Family Professor of African Studies, Director of the Institute of African Studies, and Professor of History at Columbia University.
Ifeoma Kiddoe Nwankwo is Associate Professor of English at Vanderbilt University.
Jacket photograph by Elias Irizarry
"In Rhythms of the Pachakuti we can sense the reverberations of an extraordinary historical process that took place in Bolivia at the start of the twenty-first century. The book is the product of Raquel Gutiérrez Aguilar's political engagement in that historical process. . . . Though of Mexican nationality, [she] was intimately involved in Bolivian politics for many years and acquired a quasi-legendary status there as an intense, brilliant activist and radical intellectual. . . . [Her account is] . . . itself a revolutionary document. . . . Rhythms of the Pachakuti deserves to stand as a key text in the international literature of radicalism and emancipatory politics in the new century."—Sinclair Thomson, from the foreword
Stafford organizes these essays around three concepts that structure the book: inscrutability, ineffability, and intuitability. All three, she explains, allow us to examine how both the arts and the sciences imaginatively infer meaning from the “veiled behavior of matter,” bringing these historically divided subjects into a shared intellectual inquiry and imbuing them with an ethical urgency. A vanguard work at the intersection of the arts and sciences, this book will be sure to guide readers from either realm into unfamiliar yet undeniably fertile territory.
Examining the early years of rice’s burgeoning popularity, Marton shows that trade of the grain was driven by profit from both high status export rice and the lower-quality versions that fed countless laborers. In addition to urbanization and the increase in marketing and advertising, she reveals that rice’s rise to supremacy also came through its consumption by slave, indentured servant, and immigrant communities. She also considers the significance rice has in cultural rituals, literature, music, painting, and poetry. She even shows how the specific rice one consumes can have great importance in distinguishing one’s identity within an ethnic group. Chock full of delicious recipes from across the globe, Rice is a fascinating look at how this culinary staple has defined us.
Rice and Baguette traces the prehistoric Việt’s progress from hunter-gathers of mollusks and small animals to sophisticated agriculturalists. The book follows them as they developed new tools and practices to perfect the growing of their crops until rice became a crucial commodity,which then irrevocably changed their diet, lifestyle, and social structure. Along the way, the author shows how Việt cuisine was dramatically influenced by French colonial cookery and products, which introduced a whole new set of ingredients and techniques into Vietnam. Beautifully illustrated throughout and peppered with fascinating historical tales, Rice and Baguette reveals the long journey that Vietnamese food has traveled to become the much-loved cuisine that it is today.
In Rice, her second volume of poetry, Nikky Finney explores the complexity of rice as central to the culture, economy, and mystique of the coastal South Carolina region where she was born and raised. The prized Carolina Gold rice paradoxically made South Carolina one of the most oppressive states for slaves and also created the remarkable Gullah culture on the coastal islands. The poems in Rice compose a profound and unflinching journey connecting family and the paradoxes of American history, from the tragic times when African slaves disembarked on the South Carolina coast to the triumphant day when Judge Ernest A. Finney Jr., Nikky’s father, was sworn in as South Carolina’s first African American chief justice. Images from the Finney family archive illustrate and punctuate this collection. Rice showcases Finney’s hungry intellect, her regional awareness and pride, and her sensitivity to how cultures are built and threatened.
Ricelands takes the reader on a colorful and engaging tour of these popular tourist destinations through the richly layered cultures surrounding the various food traditions. Traveling across the landscapes of Thailand, Vietnam, Burma, Cambodia, Malaysia, Laos, Indonesia, and the Philippines, Freeman explores the origins of their respective cuisines, the defining characteristics of authentic dishes, and the evolution of the cuisines as they entered foreign cultures. From birds’ nests gathered in Thailand’s coastal caves to the less familiar dishes of Burma and Cambodia to the pungent durian fruit (and Westerners’ often aghast reactions), the author unearths unexpected treasures and tantalizing facts about Southeast Asia and its social history. The book also examines the cooking techniques, complex spices, and agricultural economies that underpin the countries’ food cultures, and considers how the informal nature of Southeast Asian eating fits into the rhythms of modern-day living.
Vibrantly illustrated and elegantly conceived, Ricelands takes us into the heart of tropical Asia and the delicious foods that define it the world over.
From the first Native Americans to modern industrial farmers, Kraig takes us on a journey to reveal how people have shaped the North American continent and its climate based on the foods they craved and the crops and animals that they raised. He analyzes the ideas that Americans have about themselves and the world around them, and how these ideas have been shaped by interactions with their environments. He details the impact of technical innovation and industrialization, which have in turn created modern American food systems.
Drawing upon recent evidence from the fields of science, archaeology, and technology, A Rich and Fertile Land is a unique and valuable history of the geography, climate, and food of the United States.
The history of coffee is much more than the tale of one luxury good—it is a lens through which to consider various strands of world history, from food and foodways to religion and economics and sociocultural dynamics.
A Rich and Tantalizing Brew traces the history of coffee from its cultivation and brewing first as a private pleasure in the highlands of Ethiopia and Yemen through its emergence as a sought-after public commodity served in coffeehouses first in the Muslim world, and then traveling across the Mediterranean to Italy, to other parts of Europe, and finally to India and the Americas. At each of these stops the brew gathered ardent aficionados and vocal critics, all the while reshaping patterns of socialization.
Taking its conversational tone from the chats often held over a steaming cup, A Rich and Tantalizing Brew offers a critical and entertaining look at how this bitter beverage, with a little help from the tastes that traveled with it—chocolate, tea, and sugar—has connected people to each other both within and outside of their typical circles, inspiring a new context for sharing news, conducting business affairs, and even plotting revolution.
In Richard Barr: The Playwright’s Producer, author David A. Crespy investigates the career of one of the theatre’s most vivid luminaries, from his work on the film and radio productions of Orson Welles to his triumphant—and final—production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Explored in detail along the way are the producer’s relationship with playwright Edward Albee, whose major plays such as A Zoo Story and Who’s Afraid of Virginia Woolf Barr was the first to produce, and his innovative productions of controversial works by playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy draws on Barr’s own writings on the theatre, his personal papers, and more than sixty interviews with theatre professionals to offer insight into a man whose legacy to producers and playwrights resounds in the theatre world. Also included in the volume are a foreword and an afterword by Edward Albee, a three-time Pulitzer Prize–winning playwright and one of Barr’s closest associates.
What made the classical scholar Richard Bentley deserve to be so viciously skewered by two of the literary giants of his day—Jonathan Swift in the Battle of the Books and Alexander Pope in the Dunciad? The answer: he had the temerity to bring classical study out of the scholar's closet and into the drawing rooms of polite society. Kristine Haugen’s highly engaging biography of a man whom Rhodri Lewis characterized as “perhaps the most notable—and notorious—scholar ever to have English as a mother tongue” affords a fascinating portrait of Bentley and the intellectual turmoil he set in motion.
Aiming at a convergence between scholarship and literary culture, the brilliant, caustic, and imperious Bentley revealed to polite readers the doings of professional scholars and induced them to pay attention to classical study. At the same time, Europe's most famous classical scholar adapted his own publications to the deficiencies of non-expert readers. Abandoning the church-oriented historical study of his peers, he worked on texts that interested a wider public, with spectacular and—in the case of his interventionist edition of Paradise Lost—sometimes lamentable results.
If the union of worlds Bentley craved was not to be achieved in his lifetime, his provocations show that professional humanism left a deep imprint on the literary world of England's Enlightenment.
On Richard Cobden’s death, Charles Francis Adams noted in his diary that Cobden “had fought his way to fame and honor by the single force of his character. He had nothing to give. No wealth, no honors, no preferment. He first taught the multitude by precept and example that the right of government was not really to the few, but to the many.&rquo; Disraeli was no less acute when he remarked that Cobden was “the greatest political character that the pure middle class of this country has yet produced.”
In this biography, Nicholas Edsall demonstrates how Cobden dominated middle-class radicalism from its high-water mark in the turbulent 1840s to the quieter years immediately before the emergence of the Gladstonian Liberal party in the 1860s. Cobden headed the movement for the incorporation of his adopted city, Manchester; he was the leader of the most successful of Victorian mass agitations, the Anti-Corn Law League, and chief adviser to the movement for the repeal of newspaper taxes; he was a founder of the mid-nineteenth-century peace movement and a vocal opponent of the Crimean War; he was the chief English negotiator of the Anglo–French Commercial Treaty of 1860; and he was one of the earliest critics of the modern arms race.
This is the first full-length biography since the publication of the official life more than a century ago. Not only has a good deal of new material become available, but the passage of time has served to underscore Cobden’s significance both as a spokesman for the middle class in an era of acute class conflict and as a critic of the aims of great-power diplomacy at a time when his own country was the greatest of powers.
Richard Eberhart - American Writers 55 was first published in 1966. 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.
McGuire also uses this idea of pragmatic realism to mount a larger defense of contemporary realist writing and uses Ford’s example to argue that realism itself remains a useful and necessary critical category. Contemporary realism, rather than being merely conventional or reactionary, as some of its critics have called it, can offer its proponents an aesthetically and philosophically sophisticated way of engaging with and contesting the particularities of contemporary, even postmodern, experience.
In offering this new reading of Richard Ford’s fiction, as well as a fresh understanding of the realist impulse in contemporary American fiction, both become richer, more resonant, and more immediate—reaching both backward into the past and forward to involve themselves in important contemporary debates about history, postmodernity, and moral relativism.
Richard Halliburton (1900–1939), considered the world’s first celebrity travel writer, swam the length of the Panama Canal, recreated Ulysses’ voyages in the Mediterranean, crossed the Alps on an elephant, flew around the world in a biplane, and descended into the Mayan Well of Death, all the while chronicling his own adventures. Several books treat his life and travels, yet no book has addressed in detail Halliburton’s most ambitious expedition: an attempt to sail across the Pacific Ocean in a Chinese junk.
Set against the backdrop of a China devastated by invading Japanese armies and the storm clouds of world war gathering in Europe, Halliburton and a crew of fourteen set out to build and sail the Sea Dragon—a junk or ancient sailing ship—from Hong Kong to San Francisco for the Golden Gate International Exposition. After battling through crew conflicts and frequent delays, the Sea Dragon set sail on March 4, 1939. Three weeks after embarking, the ship encountered a typhoon and disappeared without a trace.
Richly enhanced with historic photographs, Richard Halliburton and the Voyage of the Sea Dragon follows the dramatic arc of this ill-fated expedition in fine detail. Gerry Max artfully unpacks the tensions between Halliburton and his captain, John Wenlock Welch (owing much to Welch’s homophobia and Halliburton’s unconcealed homosexuality). And while Max naturally explores the trials and tribulations of preparing, constructing, and finally launching the Sea Dragon, he also punctuates the story with the invasion of China by the Japanese, as Halliburton and his letters home reveal an excellent wartime reporter. Max mines these documents, many of which have only recently come to light, as well as additional letters from Halliburton and his crew to family and friends, photographs, films, and tape recordings, to paint an intricate portrait of Halliburton’s final expedition from inception to tragic end.
In this masterful biography, David Brown explores Hofstadter’s life within the context of the rise and fall of American liberalism. A fierce advocate of academic freedom, racial justice, and political pluralism, Hofstadter charted in his works the changing nature of American society from a provincial Protestant foundation to one based on the values of an urban and multiethnic nation. According to Brown, Hofstadter presciently saw in rural America’s hostility to this cosmopolitanism signs of an anti-intellectualism that he believed was dangerously endemic in a mass democracy.
By the end of a life cut short by leukemia, Hofstadter had won two Pulitzer Prizes, and his books had attracted international attention. Yet the Vietnam years, as Brown shows, culminated in a conservative reaction to his work that is still with us. Whether one agrees with Hofstadter’s critics or with the noted historian John Higham, who insisted that Hofstadter was “the finest and also the most humane intelligence of our generation,” the importance of this seminal thinker cannot be denied. As this fascinating biography ultimately shows, Hofstadter’s observations on the struggle between conservative and liberal America are relevant to our own times, and his legacy challenges us to this day.
Following the events of the final two years of his life, Richard II interrogates royal power and the forces that threaten it. After banishing his cousin Henry Bolingbroke, Richard begins to lose grip of his throne and strives to find meaning in the churn and chaos of the events unfolding around him. In her new translation, Naomi Iizuka ventures into the mystery of the work, scraping away the layers of received wisdom and cracking the play open for contemporary audiences.
This translation of Richard II was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
Nuyorican playwright Migdalia Cruz unpacks and repositions Shakespeare’s Richard III for a twenty-first-century audience. She presents a contemporary English verse translation, faithfully keeping the poetry, the puns, and the politics of the play intact, with a rigorous and in-depth examination of Richard III—the man, the king, the outsider—who is still the only English king to have died in battle. In the Wars of the Roses, his Catholic belief in his country led to his slaughter at Bosworth’s Field by his Protestant rivals. In reimagining this text, Cruz emphasizes Richard III’s outsider status—exacerbated by his severe scoliosis, which twisted his spine—by punctuating the text with punk music from 1970s London. Cruz’s Richard is no one’s fool or lackey. He is a new kind of monarch, whose dark sense of humor and deep sense of purpose leads his charge against the society which never fully accepted him because he looked different.
This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era.
Richard III will always be central to English disability history as both man and myth—a disabled medieval king made into a monster by his nation’s most important artist.
In Richard III’s Bodies from Medieval England to Modernity, Jeffrey Wilson tracks disability over 500 years, from Richard’s own manuscripts, early Tudor propaganda, and x-rays of sixteenth-century paintings through Shakespeare’s soliloquies, into Samuel Johnson’s editorial notes, the first play produced by an African American Theater company, Freudian psychoanalysis, and the rise of disability theater. For Wilson, the changing meanings of disability created through shifting perspectives in Shakespeare’s plays prefigure a series of modern attempts to understand Richard’s body in different disciplinary contexts—from history and philosophy to sociology and medicine.
While theorizing a role for Shakespeare in the field of disability history, Wilson reveals how Richard III has become an index for some of modernity’s central concerns—the tension between appearance and reality, the conflict between individual will and external forces of nature and culture, the possibility of upward social mobility, and social interaction between self and other, including questions of discrimination, prejudice, hatred, oppression, power, and justice.
Robert Shlaer came across them many years later at the Newberry Library in Chicago and was inspired to locate the views depicted in the drawings and to photograph them, as nearly as was possible, from the same spot where Kern stood when he sketched them.
Richard Kern’s Far West Sketches juxtaposes Kern’s drawings with Shlaer's photographs, presenting 389 illustrations in geographic sequence from east to west, as well as a detailed narrative of the expedition. An associated website will include maps, drawings, and photographs so that they can be enlarged, compared, and studied in detail, providing an immersive experience of this important and ill-fated expedition.
Brilliant, hard-working, and immensely productive, the naturalist Richard Owen was a great ambassador for science and played an outsized role in shaping London’s Natural History Museum. Still, Owen was a provocative bully, accused of plagiarism, and the only man Charles Darwin claimed to hate since Owen staunchly opposed his ideas about natural selection despite sharing similar views himself. This biography gives an account of Owen’s life and work and offers some speculation about the reasons behind his controversial behavior and strained relationships.
In the mid-1850s, no scientist in the British Empire was more visible than Richard Owen. Mentioned in the same breath as Isaac Newton and championed as Britain’s answer to France’s Georges Cuvier and Germany’s Alexander von Humboldt, Owen was, as the Times declared in 1856, the most “distinguished man of science in the country.” But, a century and a half later, Owen remains largely obscured by the shadow of the most famous Victorian naturalist of all, Charles Darwin. Publicly marginalized by his contemporaries for his critique of natural selection, Owen suffered personal attacks that undermined his credibility long after his name faded from history.
With this innovative biography, Nicolaas A. Rupke resuscitates Owen’s reputation. Arguing that Owen should no longer be judged by the evolution dispute that figured in only a minor part of his work, Rupke stresses context, emphasizing the importance of places and practices in the production and reception of scientific knowledge. Dovetailing with the recent resurgence of interest in Owen’s life and work, Rupke’s book brings the forgotten naturalist back into the canon of the history of science and demonstrates how much biology existed with, and without, Darwin
The child of a pair of leftist writers who worried that their precocious son “wasn’t rebellious enough,” Rorty enrolled at the University of Chicago at the age of fifteen. There he came under the tutelage of polymath Richard McKeon, whose catholic approach to philosophical systems would profoundly influence Rorty’s own thought. Doctoral work at Yale led to Rorty’s landing a job at Princeton, where his colleagues were primarily analytic philosophers. With a series of publications in the 1960s, Rorty quickly established himself as a strong thinker in that tradition—but by the late 1970s Rorty had eschewed the idea of objective truth altogether, urging philosophers to take a “relaxed attitude” toward the question of logical rigor. Drawing on the pragmatism of John Dewey, he argued that philosophers should instead open themselves up to multiple methods of thought and sources of knowledge—an approach that would culminate in the publication of Philosophy and the Mirror of Nature, one of the most seminal and controversial philosophical works of our time.
In clear and compelling fashion, Gross sets that surprising shift in Rorty’s thought in the context of his life and social experiences, revealing the many disparate influences that contribute to the making of knowledge. As much a book about the growth of ideas as it is a biography of a philosopher, Richard Rorty will provide readers with a fresh understanding of both the man and the course of twentieth-century thought.
Anderson provides the context from which Selzer’s writing grows and a concept of language adequate to his purposes and accomplishments. He takes a careful look at Selzer’s writing to demonstrate that these abstract considerations do tell us why a surgeon would write. The works Anderson examines are "Jonah and the Whale" (an important early short story) and the first three essays in Mortal Lessons. These examples show the reader exactly how the symbols of literature interact directly with the world and the everyday communications of both writer and reader. According to Anderson, Mortal Lessons is also Selzer’s most artistic statement of his own sense of why and how he became a writer.
Selzer’s books include Rituals of Surgery, Mortal Lessons, Confessions of a Knife, Letters to a Young Doctor, and Taking the World in for Repairs.
Contributors discuss Strauss as a young composer steeped in a conservative instrumental tradition, as a brash young modernist tone poet of the 1890s, as an important composer of twentieth-century German opera, and as a cultural icon manipulated by the national socialists during the 1930s and early 1940s. Individual essays use Strauss’s creative work as a framework for larger musicological questions such as the tension between narrative and structure in program music, the problem of extended tonality at the turn of the century, stylistic choice versus stylistic obligation, and conflicting perspectives of progressive versus conservative music.
This collection will interest Strauss scholars, musicologists, and those interested in the artistic and cultural life of Germany from 1880 through the Second World War.
Contributors. Kofi Agawu, Günter Brosche, Bryan Gilliam, Stephen Hefling, James A. Hepokoski, Timothy L. Jackson, Michael Kennedy, Lewis Lockwood, Barbara A. Peterson, Pamela Potter, Reinhold Schlötterer, R. Larry Todd
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