Roman tragedies were written for over three hundred years, but only fragments remain of plays that predate the works of Seneca in the mid-first century C.E., making it difficult to define the role of tragedy in ancient Roman culture. Nevertheless, in this pioneering book, Mario Erasmo draws on all the available evidence to trace the evolution of Roman tragedy from the earliest tragedians to the dramatist Seneca and to explore the role played by Roman culture in shaping the perception of theatricality on and off the stage.
Performing a philological analysis of texts informed by semiotic theory and audience reception, Erasmo pursues two main questions in this study: how does Roman tragedy become metatragedy, and how did off-stage theatricality come to compete with the theatre? Working chronologically, he looks at how plays began to incorporate a rhetoricized reality on stage, thus pointing to their own theatricality. And he shows how this theatricality, in turn, came to permeate society, so that real events such as the assassination of Julius Caesar took on theatrical overtones, while Pompey's theatre opening and the lavish spectacles of the emperor Nero deliberately blurred the lines between reality and theatre. Tragedy eventually declined as a force in Roman culture, Erasmo suggests, because off-stage reality became so theatrical that on-stage tragedy could no longer compete.
It followed every major military victory in ancient Rome: the successful general drove through the streets to the temple of Jupiter on the Capitoline Hill; behind him streamed his raucous soldiers; in front were his most glamorous prisoners, as well as the booty he’d captured, from enemy ships and precious statues to plants and animals from the conquered territory. Occasionally there was so much on display that the show lasted two or three days.
A radical reexamination of this most extraordinary of ancient ceremonies, this book explores the magnificence of the Roman triumph, but also its darker side. What did it mean when the axle broke under Julius Caesar’s chariot? Or when Pompey’s elephants got stuck trying to squeeze through an arch? Or when exotic or pathetic prisoners stole the general’s show? And what are the implications of the Roman triumph, as a celebration of imperialism and military might, for questions about military power and “victory” in our own day? The triumph, Mary Beard contends, prompted the Romans to question as well as celebrate military glory.
Her richly illustrated work is a testament to the profound importance of the triumph in Roman culture—and for monarchs, dynasts and generals ever since. But how can we re-create the ceremony as it was celebrated in Rome? How can we piece together its elusive traces in art and literature? Beard addresses these questions, opening a window on the intriguing process of sifting through and making sense of what constitutes “history.”
The Greek orator Dio Chrysostom is a colorful figure, and along with Plutarch one of the major sources of information about Greek civilization during the early Roman Empire. C.P. Jones offers here the first full-length portrait of Dio in English and, at the same time, a view of life in cities such as Alexandria, Tarsus, and Rhodes in the first centuries of our era.
Skillfully combining literary and historical evidence, Mr. Jones describes Dio's birthplace, education, and early career. He examines the civic speeches for what they reveal about Dio's life and art, as well as the life, thought, and language of Greek cities in this period. From these and other works he reinterprets Dio's attitude toward the emperors and Rome. The account is as lucid and pleasantly written as it is carefully documented.
The great American thinker Ralph Waldo Emerson and the influential German philosopher Friedrich Nietzsche, though writing in different eras and ultimately developing significantly different philosophies, both praised the individual’s wish to be transformed, to be fully created for the first time. Emerson and Nietzsche challenge us to undertake the task of identity on our own, in order to see (in Nietzsche’s phrase) “how one becomes what one is.”
David Mikics’s The Romance of Individualism in Emerson and Nietzsche examines the argument, as well as the affinity, between these two philosophers. Nietzsche was an enthusiastic reader of Emerson and inherited from him an interest in provocation as a means of instruction, an understanding of the permanent importance of moods and transitory moments in our lives, and a sense of the revolutionary character of impulse. Both were deliberately outrageous thinkers, striving to shake us out of our complacency.
Rather than choosing between Emerson and Nietzsche, Professor Mikics attends to Nietzsche’s struggle with Emerson’s example and influence. Elegant in its delivery, The Romance of Individualism in Emerson and Nietzsche offers a significant commentary on the visions of several contemporary theorists whose interests intersect with those of Emerson and Nietzsche, especially Stanley Cavell, Jacques Lacan, Slavoj Zizek, and Harold Bloom.
In the United States miscegenation is not merely a subject of literature and popular culture. It is in many ways the foundation of contemporary imaginary community. The Romance of Race examines the role of minority women writers and reformers in the creation of our modern American multiculturalism.
The national identity of the United States was transformed between 1880 and 1930 due to mass immigration, imperial expansion, the rise of Jim Crow, and the beginning of the suffrage movement. A generation of women writers and reformers—particularly women of color—contributed to these debates by imagining new national narratives that put minorities at the center of American identity. Jane Addams, Pauline Hopkins, Onoto Watanna (Winnifred Eaton), María Cristina Mena, and Mourning Dove (Christine Quintasket) embraced the images of the United States—and increasingly the world—as an interracial nuclear family. They also reframed public debates through narratives depicting interracial encounters as longstanding, unacknowledged liaisons between white men and racialized women that produced an incestuous, mixed-race nation.
By mobilizing the sexual taboos of incest and miscegenation, these women writers created political allegories of kinship and community. Through their criticisms of the nation’s history of exploitation and colonization, they also imagined a more inclusive future. As Jolie A. Sheffer identifies the contemporary template for American multiculturalism in the works of turn-of-the century minority writers, she uncovers a much more radical history than has previously been considered.
During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage.
In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French émigré photographers Désiré Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.
Meyer Schapiro (1904-96), renowned for his critical essays on nineteenth- and twentieth-century painting, also played a decisive role as a young scholar in defining the style of art and architecture known as Romanesque. And, appropriately, when he was invited to deliver the prestigious Charles Eliot Norton Lectures at Harvard, he chose Romanesque architectural sculpture as his topic. These lectures, acclaimed for the verve and freshness with which Schapiro delivered them, languished unpublished for decades. But Linda Seidel, who knew Schapiro well and attended the 1967 lectures, has now expertly transcribed and edited them, presenting them for the first time to an audience beyond the halls of Harvard.
In editing the lectures, Seidel closely followed the recordings of the originals. Sentences are rendered as Schapiro spoke them, affording readers a unique opportunity to experience the legendary teacher as he rarely appears in print: forming his thoughts spontaneously, interrupting himself to develop related ideas, and responding to the audience’s interests by introducing humorous asides. Nonetheless, these lectures are carefully constructed, demonstrating Schapiro’s commitment to the originality and value of artistic production and affirming his lifelong belief in artists’ engagement with their cultures. Amply illustrated with many key works and augmented with Seidel’s indispensable introduction, this long-awaited volume will delight students and scholars of art history, as well as anyone interested in seeing a new side of a profoundly influential mind.
“Gypsies” have lived among Europeans since the Middle Ages. Yet Roms still seem exotic to Westerners, who often rely on fictional depictions for what they know, or think they know, about this much-misunderstood people. The Romani Gypsies challenges stereotypes that have long been the unwelcome travel companions of this community in Europe and the New World. Yaron Matras offers a perspective-changing account of who the Roms are, how they live today, and how they have survived over centuries.
Descendants of Indian migrants, Roms began moving into western Europe in the 1300s, refugees of a collapsing Byzantine Empire. By the 1500s they had spread throughout Europe, working as itinerant smiths and toolmakers, healers and entertainers, and would soon reach the Americas. Often described as Egyptian—hence the name Gypsies—they were ostracized as beggars, vilified as criminals, respected as artisans, and idealized as free spirits. They have been both enslaved and protected, forced to settle down and forcibly expelled, in a pattern of manipulation and persecution that persists in our own time.
Matras draws on decades of firsthand research into Romani life to explain the organization of Romani society, its shared language, history, and traditions, as well as differences among widely dispersed Romani groups. He also details the present-day dilemmas surrounding the struggle of Roms for political recognition in European countries which are, by turns, either ambivalent or openly hostile.
The implications of early experience for children’s brain development, behavior, and psychological functioning have long absorbed caregivers, researchers, and clinicians. The 1989 fall of Romania’s Ceausescu regime left approximately 170,000 children in 700 overcrowded, impoverished institutions across Romania, and prompted the most comprehensive study to date on the effects of institutionalization on children’s wellbeing. Romania’s Abandoned Children, the authoritative account of this landmark study, documents the devastating toll paid by children who are deprived of responsive care, social interaction, stimulation, and psychological comfort.
Launched in 2000, the Bucharest Early Intervention Project (BEIP) was a rigorously controlled investigation of foster care as an alternative to institutionalization. Researchers included 136 abandoned infants and toddlers in the study and randomly assigned half of them to foster care created specifically for the project. The other half stayed in Romanian institutions, where conditions remained substandard. Over a twelve-year span, both groups were assessed for physical growth, cognitive functioning, brain development, and social behavior. Data from a third group of children raised by their birth families were collected for comparison.
The study found that the institutionalized children were severely impaired in IQ and manifested a variety of social and emotional disorders, as well as changes in brain development. However, the earlier an institutionalized child was placed into foster care, the better the recovery. Combining scientific, historical, and personal narratives in a gripping, often heartbreaking, account, Romania’s Abandoned Children highlights the urgency of efforts to help the millions of parentless children living in institutions throughout the world.
A leading historian argues that in the empire we know as Byzantium, the Greek-speaking population was actually Roman, and scholars have deliberately mislabeled their ethnicity for the past two centuries for political reasons.
Was there ever such a thing as Byzantium? Certainly no emperor ever called himself “Byzantine.” And while the identities of minorities in the eastern empire are clear—contemporaries speak of Slavs, Bulgarians, Armenians, Jews, and Muslims—that of the ruling majority remains obscured behind a name made up by later generations.
Historical evidence tells us unequivocally that Byzantium’s ethnic majority, no less than the ruler of Constantinople, would have identified as Roman. It was an identity so strong in the eastern empire that even the conquering Ottomans would eventually adopt it. But Western scholarship has a long tradition of denying the Romanness of Byzantium. In Romanland, Anthony Kaldellis investigates why and argues that it is time for the Romanness of these so-called Byzantines to be taken seriously.
In the Middle Ages, he explains, people of the eastern empire were labeled “Greeks,” and by the nineteenth century they were shorn of their distorted Greekness and became “Byzantine.” Only when we understand that the Greek-speaking population of Byzantium was actually Roman will we fully appreciate the nature of Roman ethnic identity. We will also better understand the processes of assimilation that led to the absorption of foreign and minority groups into the dominant ethnic group, the Romans who presided over the vast multiethnic empire of the east.
James Allen Hall returns to poetry with Romantic Comedy, a sophomore collection sounding the parameters of genre to subvert cultural notions of literary value and artistic legitimacy. What realities do stories authorize, and which remain untold? “This story,” they profess in “Biography,” “is mine: there was / a wound, then a world.” Rather than playing into the attention economy’s appetite for sensationalism, Hall’s poems resist the formulaic while paying homage to the oeuvre, a formal balancing act that celebrates queer life.The poems create liberatory narratives that break constraints or speak through them. Hall parses music from the blizzard — as when “one year / [they] watched the snow / pile to [their] door / all December, all / January,” “the year [they] wanted / to die,” and, faced with winter’s architecture, “learned / another song. Sang / another way.” Whether grieving the death of their father, documenting the survival of sexual assault, interrogating the scripts of addiction, or revisiting an ’80s crime thriller, Hall’s second collection constantly affirms the ingenuity of self-definition as a technology of survival.
In Romantic Complexity, Jack Stillinger examines three of the most admired poets of English Romanticism--Keats, Coleridge, and Wordsworth--with a focus on the complexity that results from the multiple authorship, the multiple textual representation, and the multiple reading and interpretation of their best works.
Specific topics include the joint authorship of Wordsworth and Coleridge in the Lyrical Ballads, an experiment of 1798 that established the most essential characteristics of modern poetry; Coleridge's creation of eighteen or more different versions of The Ancient Mariner and how this textual multiplicity affects interpretation; the historical collaboration between Keats and his readers to produce fifty-nine separate but entirely legitimate readings of The Eve of St. Agnes; and a number of practical and theoretical matters bearing on the relationships among these writers and their influences on one another.
Stillinger shows his deep understanding of the poets' lives, works, and the history of their reception, in chapters rich with intriguing questions and answers sure to engage students and teachers of the world's greatest poetry.
Traditionally, romance novels have a reputation as being no more than trashy, sex-filled fantasy escapes for frustrated housewives. But books in this genre account for nearly half of the paperbacks published. Contributors examine the patterns used by the romance authors to tell their stories.
What Charles Rosen's celebrated book The Classical Style did for music of the Classical period, this new, much-awaited volume brilliantly does for the Romantic era. An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and in doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates his observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context.
Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music of other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and traces the origins of musical ideas prevalent in the Romantic period. Rich with striking descriptions and telling analogies, Rosen's overview of Romantic music is an accomplishment without parallel in the literature, a consummate performance by a master pianist and music historian.
The Early Romantics met resistance from artists and academics alike in part because they defied the conventional wisdom that philosophy and the arts must be kept separate. Indeed, as the literary component of Romanticism has been studied and celebrated in recent years, its philosophical aspect has receded from view. This book, by one of the most respected scholars of the Romantic era, offers an explanation of Romanticism that not only restores but enhances understanding of the movement's origins, development, aims, and accomplishments--and of its continuing relevance.
Poetry is in fact the general ideal of the Romantics, Frederick Beiser tells us, but only if poetry is understood not just narrowly as poems but more broadly as things made by humans. Seen in this way, poetry becomes a revolutionary ideal that demanded--and still demands--that we transform not only literature and criticism but all the arts and sciences, that we break down the barriers between art and life, so that the world itself becomes "romanticized." Romanticism, in the view Beiser opens to us, does not conform to the contemporary division of labor in our universities and colleges; it requires a multifaceted approach of just the sort outlined in this book.
In the years immediately following Napoleon’s defeat, French thinkers in all fields set their minds to the problem of how to recover from the long upheavals that had been set into motion by the French Revolution. Many challenged the Enlightenment’s emphasis on mechanics and questioned the rising power of machines, seeking a return to the organic unity of an earlier age and triggering the artistic and philosophical movement of romanticism. Previous scholars have viewed romanticism and industrialization in opposition, but in this groundbreaking volume John Tresch reveals how thoroughly entwined science and the arts were in early nineteenth-century France and how they worked together to unite a fractured society.
Focusing on a set of celebrated technologies, including steam engines, electromagnetic and geophysical instruments, early photography, and mass-scale printing, Tresch looks at how new conceptions of energy, instrumentality, and association fueled such diverse developments as fantastic literature, popular astronomy, grand opera, positivism, utopian socialism, and the Revolution of 1848. He shows that those who attempted to fuse organicism and mechanism in various ways, including Alexander von Humboldt and Auguste Comte, charted a road not taken that resonates today.
Essential reading for historians of science, intellectual and cultural historians of Europe, and literary and art historians, The Romantic Machine is poised to profoundly alter our understanding of the scientific and cultural landscape of the early nineteenth century.
Few can match Charles Rosen's cultivation and discernment, whether as pianist, music historian, or critic. Here he gives us a performance of literary criticism as high art, a critical conjuring of the Romantic period by way of some of its central texts.
"What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Hölderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honoré de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text.
With an apt comparison or a startling juxtaposition, Rosen opens whole worlds of insight, as in his linking of Caspar David Friedrich's landscape painting and Schumann's music, or in his review of the theory and musicology of Heinrich Schenker alongside the work of Roman Jakobson.
Throughout this volume we hear the voice of a shrewd aesthetic interpreter, performing the critic's task even as he redefines it in his sparkling fashion.
The rebels of the Romantic period speak more directly to the issues of today than any other group of writers of the past. Mary Wollstonecraft exposed the problem of women's rights; her husband William Godwin protested against war, economic and social imbalances, and cruel penal practices; their daughter Mary Shelley produced the original science fiction, Frankenstein, and introduced into the novel radical social and antireligious views. Shelley campaigned in Ireland for Irish separation, wrote pamphlets on parliamentary reform, and propounded an egalitarian world; Byron addressed himself to problems of social injustice and lost his life as a result of his participation in the Greek war of independence. Leigh Hunt, the first radical, crusading journalist, battled all forms of injustice from child labor to army flogging; Thomas Love Peacock's lively, satiric novels excoriated sham.
Their rebellion carried into their personal lives: Mary Wollstonecraft, Shelley, and Byron openly flouted the laws of marital relations, and several adopted unconventional dress. The rebels paid dearly for their public and private views. Shelley was deprived of his children, Byron was driven into exile, and Leigh Hunt was imprisoned.
The lives and works of these major Romantics are sketched in a concise and lively way in these twelve essays, which are derived from Shelley and His Circle, Volumes I through IV. The collection provides a cohesive picture of some of the Romantics whose lives interlocked in the early 1800's.
Romanticism: A German Affair is essential reading for anyone interested in the power of art, culture, and ideas in the life of a nation.
Rome is not one city but many, each with its own history unfolding from a different center: now the trading port on the Tiber; now the Forum of antiquity; the Palatine of imperial power; the Lateran Church of Christian ascendancy; the Vatican; the Quirinal palace. Beginning with the very shaping of the ground on which Rome first rose, this book conjures all these cities, past and present, conducting the reader through time and space to the complex and shifting realities--architectural, historical, political, and social--that constitute Rome.
A multifaceted historical portrait, this richly illustrated work is as gritty as it is gorgeous, immersing readers in the practical world of each period. James McGregor's explorations afford the pleasures of a novel thick with characters and plot twists: amid the life struggles, hopes, and failures of countless generations, we see how things truly worked, then and now; we learn about the materials of which Rome was built; of the Tiber and its bridges; of roads, aqueducts, and sewers; and, always, of power, especially the power to shape the city and imprint it with a particular personality--like that of Nero or Trajan or Pope Sixtus V--or a particular institution.
McGregor traces the successive urban forms that rulers have imposed, from emperors and popes to national governments including Mussolini's. And, in archaeologists' and museums' presentation of Rome's past, he shows that the documenting of history itself is fraught with power and politics. In McGregor's own beautifully written account, the power and politics emerge clearly, manifest in the distinctive styles and structures, practical concerns and aesthetic interests that constitute the myriad Romes of our day and days past.
Biondo Flavio (1392–1463), humanist and historian, was a pioneering figure in the Renaissance discovery of antiquity; famously, he was the author who popularized the term “Middle Age” to describe the period between the fall of the Roman Empire and the revival of antiquity in his own time. While serving a number of Renaissance popes, he inaugurated an extraordinary program of research into the history, cultural life, and physical remains of the ancient world.
The capstone of this research program, Rome in Triumph (1459), has been said to bear comparison with the Encyclopédie of Diderot as the embodiment of the ideals of an age, seeking as it does to answer the overarching question of humanists from Petrarch to Machiavelli: what made Rome great? To answer the question Biondo undertakes a comprehensive reconstruction of Rome’s religion, government, military organization, customs and institutions over its thousand-year history. This volume contains the first edition of the Latin text since 1559 and the first translation into any modern language.
When an independent Poland reappeared on the map of Europe after World War I, it was widely regarded as the most Catholic country on the continent, as “Rome’s Most Faithful Daughter.” All the same, the relations of the Second Polish Republic with the Church—both its representatives inside the country and the Holy See itself—proved far more difficult than expected.
Based on original research in the libraries and depositories of four countries, including recently opened collections in the Vatican Secret Archives, Rome’s Most Faithful Daughter: The Catholic Church and Independent Poland, 1914–1939 presents the first scholarly history of the close but complex political relationship of Poland with the Catholic Church during the interwar period. Neal Pease addresses, for example, the centrality of Poland in the Vatican’s plans to convert the Soviet Union to Catholicism and the curious reluctance of each successive Polish government to play the role assigned to it. He also reveals the complicated story of the relations of Polish Catholicism with Jews, Freemasons, and other minorities within the country and what the response of Pope Pius XII to the Nazi German invasion of Poland in 1939 can tell us about his controversial policies during World War II.
Both authoritative and lively, Rome’s Most Faithful Daughter shows that the tensions generated by the interplay of church and state in Polish public life exerted great influence not only on the history of Poland but also on the wider Catholic world in the era between the wars.
Romey's Order is an indelible sequence of poems voiced by an invented (and inventive) boy-speaker called Romey, set alongside a river in the South Carolina lowcountry.
As the word-furious eye and voice of these poems, Romey urgently records--and tries to order--the objects, inscape, injuries, and idiom of his "blood-home" and childhood world. Sounding out the nerves and nodes of language to transform "every burn-mark and blemish," to “bind our river-wrack and leavings," Romey seeks to forge finally (if even for a moment) a chord in which he might live. Intently visceral, aural, oral, Atsuro Riley's poems bristle with musical and imaginative pleasures, with story-telling and picture-making of a new and wholly unexpected kind.
Few American politicians have enjoyed greater popularity than Ronald Reagan. Humor, charm, good looks, an intuitive feel for national concerns, and an extraordinary ability to speak persuasively to millions of people were major assets. But his fundamental appeal went deeper: a blend of Catholic and Protestant, small-town boy and famous entertainer, Horatio Alger and P. T. Barnum, traditional moralist and media celebrity, Reagan spoke for old values in current accents.
Robert Dallek presents a sharply drawn, richly detailed portrait of the man and his politics--from his childhood years through the California governorship to the first years of the presidency. It is an essential guide for all observers of the presidential election of 2000, and a starting point for anyone wanting to discover what the Reagan experience really meant.
Few American politicians have enjoyed greater popularity than Ronald Reagan. Humor, charm, good looks, an intuitive feel for national concerns, and an extraordinary ability to speak persuasively to millions of people were major assets. But his fundamental appeal went deeper: a blend of Catholic and Protestant, small-town boy and famous entertainer, Horatio Alger and P. T. Barnum, traditional moralist and media celebrity, Reagan spoke for old values in current accents.
Robert Dallek presents a sharply drawn, richly detailed portrait of the man and his politics--from his childhood years through the California governorship to the first years of the presidency. It is an essential guide for all observers of the presidential election of 2000, and a starting point for anyone wanting to discover what the Reagan experience really meant.
The author draws upon interviews with homeless women, interviews with housed people, and, finally, evaluations of shelter services, philosophies, and policies to get at the causes and social construction of homelessness. A Roof Over My Head is a ground-breaking study that unveils the centrality of abuse and poverty in homeless women's lives and outlines ways in which societal responses can and should be more effective.
Based upon extensive ethnographic data, “A Roof Over My Head” examines the lives of homeless women who cope with domestic violence, low-income housing shortages, and poverty. The author draws upon interviews with homeless women, interviews with housed people, and, finally, evaluations of shelter services, philosophies, and policies to get at the causes and social constructions of homelessness. “A Roof Over My Head” is a groundbreaking study that unveils the centrality of abuse and poverty in homeless women’s lives and outlines ways in which societal responses can and should be more effective.
The second edition explores recent attempts to integrate homeless and battered women’s shelters and recent research on domestic violence as a cause of homelessness. It contains a new introduction that analyzes the most recent homeless policy developments and paints a picture of the homeless population today. With updated statistics and policy information throughout, the second edition of “A Roof Over My Head” illustrates why ending homelessness in the United States continues to present a thorny and complex challenge.
Traveling to the most intimate extremes of the human heart
Fraught with madness, brutality, and ecstasy, Traci Brimhall’s Rookery delves into the darkest and most remote corners of the human experience. From the graveyards and battlefields of the Civil War to the ancient forests of Brazil, from desire to despair, landscapes both literal and emotional are traversed in this unforgettable collection of poems. Brimhall guides readers through ever-winding mazes of heartbreak and treachery, and the euphoric dreams of missionaries. The end of days, the intoxication of religion that at times borders on terror, and the post-evangelical experience intertwine with the haunting redemptions and metamorphoses found in violence. These tender yet ruthless poems, brimming with danger and longing, lure readers to “a place where everyone is transformed by suffering.”
In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen’s clubs that formed the exclusive preserve known as “clubland” in Victorian London—the City of Clubs that arose during the Golden Age of Clubs. Why were these associations for men only such a powerful emergent institution in nineteenth-century London? Distinctly British, how did these single-sex clubs help fashion men, foster a culture of manliness, and assist in the project of nation building? What can elite male affiliative culture tell us about nineteenth-century Britishness?
A Room of His Own sheds light on the mysterious ways of male associational culture as it examines such topics as fraternity, sophistication, nostalgia, social capital, celebrity, gossip, and male professionalism. The story of clubland (and the literature it generated) begins with Britain’s military heroes home from the Napoleonic campaign and quickly turns to Dickens’s and Thackeray’s acrimonious Garrick Club Affair. It takes us to Richard Burton’s curious Cannibal Club and Winston Churchill’s The Other Club; it goes underground to consider Uranian desire and Oscar Wilde’s clubbing and resurfaces to examine the problematics of belonging in Trollope’s novels. The trespass of French socialist Flora Tristan, who cross-dressed her way into the clubs of Pall Mall, provides a brief interlude. London’s clubland—this all-important room of his own—comes to life as Barbara Black explores the literary representations of clubland and the important social and cultural work that this urban site enacts. Our present-day culture of connectivity owes much to nineteenth-century sociability and Victorian networks; clubland reveals to us our own enduring desire to belong, to construct imagined communities, and to affiliate with like-minded comrades.
The narratives throughout Gary Fincke’s sixth collection of short stories contain newsworthy events that are chronicled secondhand: the shooting of a policeman, the murder of a house flipper, the firing of a teacher for punching a violent student, the accidental drowning of a gay man in a flood, and a fire somewhat accidently set by a juvenile smoker in a school.
Despite these surprising events, the narrator of each story is an ordinary person caught up in the action but preoccupied by other things, whether zombie movies, collecting unusual words, the oddity of other people’s sexual habits, or what to do in retirement.
These shocking incidents become both central and peripheral to the narrative, as Fincke portrays the fluctuating emotions and self-protective reflections of fathers, sons, and husbands, creating a world where individuals rarely understand each other, yet still arrive at moments of compassion, tolerance, perseverance, and familial love.
The Room Withinis a retrospective survey of a poetic career dating back to the late fifties. A student of Yvor Winters at Stanford, Moore Moran has deservedly earned a reputation, along with fellow Winters students Turner Cassity and Edgar Bowers, as a “poet’s poet.” He stands, though, not as a disciple, but as a poet who has earned his own voice over the decades, a voice at once familiar and haunting, down-to-earth and carefully wrought—a unique sensibility that emerges not full blown, but rather line by careful line.
With a little help from Virginia Woolf, Susan Gubar contemplates startling transformations produced by the women's movement in recent decades. What advances have women made and what still needs to be done? Taking Woolf's classic A Room of One's Own as her guide, Gubar engages these questions by recounting one year in the life of an English professor.
A meditation on the teaching of literature and on the state of the humanities today, her chapters also provide a crash course on the challenges and changes in feminist intellectual history over the past several decades: the influence of post-structuralism and of critical race, postcolonial, and cultural studies scholarship; the stakes of queer theory and the institutionalization of women's studies; and the effects of globalism and bioengineering on conversations about gender, sex, and sexuality. Yet Rooms of Our Own eschews a scholarly approach. Instead, through narrative criticism it enlists a thoroughly contemporary cast of characters who tell us as much about the comedies and tragedies of campus life today as they do about the sometimes contentious but invariably liberating feminisms of our future.
Roosevelt the Reformer sheds light on an important chapter in the biography of the flamboyant 26th president of the United States. From 1889 to 1895—before he was a Rough Rider in the Spanish–American War and before he oversaw the building of the Panama Canal and won the 1906 Nobel Peace Prize—“Teddy” Roosevelt served as one of three civil service commissioners. This was a significant period of his life because he matured politically and learned how to navigate through Washington politics. He sparred with powerful cabinet officers and congressmen and survived their attempts to destroy him. He cultivated important friendships and allegiances, flourished intellectually, and strengthened his progressive views of social justice, racial theory, and foreign relations. It was a period altogether significant to the honing of administrative talent and intellectual acuity of the future president.
Richard White Jr. situates young Roosevelt within the exciting events of the Gilded Age, the Victorian era, and the gay nineties. He describes Roosevelt's relationships with family, friends, colleagues, and adversaries. Many of these people, such as Henry Cabot Lodge, Cecil Spring-Rice, Alfred Mahan, Henry Adams, and John Hay would significantly influence Roosevelt when he later occupied the White House. White explores TR's accomplishments in civil service reform, the effect of the commission experience on his presidency a decade later, and his administrative legacy.
In addition to Harvard University’s immense collection of Roosevelt
correspondence, White drew from original sources such as the Civil Service Commission files in the National Archives, the Library of Congress, the National Park Service Roosevelt Historical Site at Sagamore Hill, and the records of the National Civil Service Reform League.
In his first term in office, Franklin Roosevelt helped pull the nation out of the Great Depression with his landmark programs. In November 1936, every state except Maine and Vermont voted enthusiastically for his reelection. But then the political winds shifted. Not only did the Supreme Court block some of his transformational experiments, but he also faced serious opposition within his own party. Conservative Democrats such as Senators Walter George of Georgia and Millard Tydings of Maryland allied themselves with Republicans to vote down New Deal bills.
Susan Dunn tells the dramatic story of FDR’s unprecedented battle to drive his foes out of his party by intervening in Democratic primaries and backing liberal challengers to conservative incumbents. Reporters branded his tactic a “purge”—and the inflammatory label stuck. Roosevelt spent the summer months of 1938 campaigning across the country, defending his progressive policies and lashing out at conservatives. Despite his efforts, the Democrats took a beating in the midterm elections.
The purge stemmed not only from FDR’s commitment to the New Deal but also from his conviction that the nation needed two responsible political parties, one liberal, the other conservative. Although the purge failed, at great political cost to the president, it heralded the realignment of political parties that would take place in the 1960s, 1970s, and 1980s. By the end of the century, the irreconcilable tensions within the Democratic Party had exploded, and the once solidly Democratic South was solid no more. It had taken sixty years to resolve the tangled problems to which FDR devoted one frantic, memorable summer.
“Jamaica is the land where the rooster lays an egg…When a Jamaican is born of a black woman and some English or Scotsman, the black mother is literally and figuratively kept out of sight as far as possible, but no one is allowed to forget that white father, however questionable the circumstances of birth…You get the impression that these virile Englishmen do not require women to reproduce. They just come out to Jamaica, scratch out a nest and lay eggs that hatch out into ‘pink’ Jamaicans.”
—Zora Neale Hurston
We may no longer issue scarlet letters, but from the way we talk, we might as well: W for welfare, S for single, B for black, CC for children having children, WT for white trash. To a culture speaking with barely masked hysteria, in which branding is done with words and those branded are outcasts, this book brings a voice of reason and a warm reminder of the decency and mutual respect that are missing from so much of our public debate. Patricia J. Williams, whose acclaimed book The Alchemy of Race and Rights offered a vision for healing the ailing spirit of the law, here broadens her focus to address the wounds in America’s public soul, the sense of community that rhetoric so subtly but surely makes and unmakes.
In these pages we encounter figures and images plucked from headlines—from Tonya Harding to Lani Guinier, Rush Limbaugh to Hillary Clinton, Clarence Thomas to Dan Quayle—and see how their portrayal, encoding certain stereotypes, often reveals more about us than about them. What are we really talking about when we talk about welfare mothers, for instance? Why is calling someone a “redneck” okay, and what does that say about our society? When young women appear on Phil Donahue to represent themselves as Jewish American Princesses, what else are they doing? These are among the questions Williams considers as she uncovers the shifting, often covert rules of conversation that determine who “we” are as a nation.
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