In 1945, when the Red Army marched in, eastern Germany was not “occupied” but “liberated.” This, until the recent collapse of the Soviet Bloc, is what passed for history in the German Democratic Republic. Now, making use of newly opened archives in Russia and Germany, Norman Naimark reveals what happened during the Soviet occupation of eastern Germany from 1945 through 1949. His book offers a comprehensive look at Soviet policies in the occupied zone and their practical consequences for Germans and Russians alike—and, ultimately, for postwar Europe.
In rich and lucid detail, Naimark captures the mood and the daily reality of the occupation, the chaos and contradictions of a period marked by rape and repression, the plundering of factories, the exploitation of German science, and the rise of the East German police state. Never have these practices and their place in the overall Soviet strategy, particularly the political development of the zone, received such thorough treatment. Here we have our first clear view of how the Russians regarded the postwar settlement and the German question, how they made policy on issues from reparations to technology transfer to the acquisition of uranium, how they justified their goals, how they met them or failed, and how they changed eastern Germany in the process. The Russians in Germany also takes us deep into the politics of culture as Naimark explores the ways in which Soviet officers used film, theater, and education to foster the Bolshevization of the zone.
Unique in its broad, comparative approach to the Soviet military government in Germany, this book fills in a missing—and ultimately fascinating—chapter in the history of modern Europe.
Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language.
This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‑century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.
The performance art of burlesque, once a faded form, has made a comeback in the twenty-first century, and it has shimmied back to life with a vengeance in Cleveland. Thanks to fans and entrepreneurs, neo-burlesque has taken the stage—and it’s more inclusive, less seedy, and emphatically fun.
Rust Belt Burlesque traces the history of burlesque in Cleveland from the mid-1800s to the present day, while also telling the story of Bella Sin, a Mexican immigrant who largely drove Northeast Ohio’s neo-burlesque comeback. The historical center of Cleveland burlesque was the iconic Roxy Theater on East Ninth Street. Here, in its twentieth-century heyday, famed dancers like Blaze Starr and comics like Red Skelton and Abbott and Costello entertained both regulars and celebrity guests.
Erin O’Brien’s lively storytelling and Bob Perkoski’s color photos give readers a peek into the raucous Ohio Burlesque Festival that packs the house at the Beachland Ballroom every year. Today’s burlies come in all shapes, ethnicities, and orientations, drawing a legion of adoring fans. This is a show you won’t want to miss.
Originating as a doctoral dissertation and first published in 1926, Ernst Kris’s The Rustic Style is a pioneering inquiry into the relationship between art and nature in early modern decorative arts and garden design. This precocious study—by a young Viennese museum curator who would subsequently make his name as a leading psychoanalyst—was an attempt to define the character of late-sixteenth-century naturalism. It put scientific observation at the service of elite artistic production, and the result was an ambivalent blend of lifelike plasticity, organic texturing, and material richness in which the use of advanced technologies, such as life casting, deliberately blurred the boundary between products of natural processes and human craft. This hybrid aesthetic, which Kris described as the “rustic style,” was championed by the two main protagonists of his essay, the goldsmith Wenzel Jamnitzer and the ceramist Bernard Palissy. It found a broader characteristic expression in the design of Renaissance grottos, where classical iconography and all’antica ornamentation often came to encode the environmental knowledge of the age.
This Ex Horto edition of The Rustic Style, accompanied by introductory essays by Robert Felfe and Anatole Tchikine, is made available in English for the first time in a masterly translation by Linda B. Parshall. A long overdue tribute to Kris’s pathbreaking scholarship, this lavishly illustrated book should appeal to anyone interested in the intersections of early modern art and natural history.
How does someone experience things from the viewpoint of the other sex? It is this question that has led to Guillem Vildot’s creation of Ruth, the genre-defining story of a sex change told by the protagonist through a series of letters to an anonymous friend. Demonstrating the sentimental and intellectual intimacy of a man transitioning into a woman, Ruth describes a profound, touching process in which frustrations, ideas of liberty, and changes of identity are interwoven.
Without descending into easy morbidity or sensationalism, Viladot expresses his indignation at the limitations of both masculine and feminine sensibilities, while championing diversity of thought, love, liberty, and, most importantly, desire.
Poet, anthropologist, feminist—Ruth Fulton Benedict was all of these and much more. Born into the last years of the Victorian era, she came of age during the Progressive years and participated in inaugurating the modern era of American life. Ruth Benedict: Stranger in This Land provides an intellectual and cultural history of the first half of the twentieth century through the life of an important and remarkable woman.
As a Lyricist poet, Ruth Benedict helped define Modernism. As an anthropologist, she wrote the classic Patterns of Culture and at one point was considered the foremost anthropologist in the United States—the first woman ever to attain such status. She was an intellectual and an artist living in a time when women were not encouraged to be either. In this fascinating study, Margaret Caffrey attempts to place Benedict in the cultural matrix of her time and successfully shows the way in which Benedict was a product of and reacted to the era in which she lived.
Caffrey goes far beyond providing simple biographical material in this well-written interdisciplinary study. Based on exhaustive research, including access for the first time to the papers of Margaret Mead, Benedict's student and friend, Caffrey is able to put Benedict's life clearly in perspective. By identifying the family and educational influences that so sharply influenced Benedict's psychological makeup, the author also closely analyzes the currents of thought that were strong when Victorianism paralleled the Modernism that figured in Benedict's life work. The result is a richly detailed study of a gifted woman.
This important work will be of interest to students of Modernism, poetry, and women's studies, as well as to anthropologists.
Fanny Fern was one of the most popular American writers of the mid-nineteenth century, the first woman newspaper columnist in the United States, and the most highly paid newspaper writer of her day. This volume gathers together for the first time almost one hundred selections of her best work as a journalist. Writing on such taboo subjects as prostitution, venereal disease, divorce, and birth control, Fern stripped the façade of convention from some of society's most sacred institutions, targeting cant and hypocrisy, pretentiousness and pomp.
Fern portrays a mid-nineteenth century woman who becomes the incarnartion of the American individualist, something regarded as exclusively for men.
This collection of ten short stories and one novella reintroduces a superb regional writer whose fiction, though firmly planted in the soil of the Midwest, stretches in significance to include all human drama.
Despite her wide experience, Ruth Suckow became and remained a writer interested in small-town and small-city life. All her fiction contains deep and penetrating insights into the motivations of characters who are upheld by their dreams, memories of small-town childhoods, and the need to make sense of the contrast between past and present, idealism and practicality, conformity and individualism. These expressive, resonant stories will be welcomed by all new readers and by Ruth Suckow fans everywhere.
Ruthless Criticism was first published in 1993. 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.
Ruthless Criticism offers perspectives and subjects largely outside traditional historiography. It broadens the concept of media history to include lesser-studied media, and offers alternative interpretations of traditional media.
This anthology of original research includes an array of scholarly and theoretical perspectives. Each addresses specific topic within a specific era. reflecting the diversity of U.S. mass media.
Solomon and McChesney begin by using critical theory and deconstruction to examine the meanings of print in the colonial era. Subsequent chapters study the media ecology of the antebellum press; the intense focus on profits of the post-Civil War mainstream press; gender images in the labor press; the diversity of political views within the working-class press; and the development of a commercial press in the black community.
The essays concerning the twentieth century focus on the rise of a culture industry and include studies on the origins of the broadcast ratings system and the commercial broadcast system and the commercial broadcast system, early television's portrayals of childhood, the televisions networks' close ties with the federal government, the government's key role in creating and developing the field of mass communication research, and teenage girls' popular culture from 1960–1968 as a formative influence on the feminist movement.
Before he achieved his dream of being an internationally known rock personality, Ryan Adams had a band in Raleigh, North Carolina. Whiskeytown led the wave of insurgent-country bands that came of age with No Depression magazine in the mid-1990s, and for many people it defined the era. Adams was an irrepressible character, one of the signature personalities of his generation, and as a singer-songwriter he blew people away with a mature talent that belied his youth. David Menconi witnessed most of Whiskeytown’s rocket ride to fame as the music critic for the Raleigh News & Observer, and in Ryan Adams, he tells the inside story of the singer’s remarkable rise from hardscrabble origins to success with Whiskeytown, as well as Adams’s post-Whiskeytown self-reinvention as a solo act.
Menconi draws on early interviews with Adams, conversations with people close to him, and Adams’s extensive online postings to capture the creative ferment that produced some of Adams’s best music, including the albums Strangers Almanac and Heartbreaker. He reveals that, from the start, Ryan Adams had an absolutely determined sense of purpose and unshakable confidence in his own worth. At the same time, his inability to hold anything back, whether emotions or torrents of songs, often made Adams his own worst enemy, and Menconi recalls the excesses that almost, but never quite, derailed his career. Ryan Adams is a fascinating, multifaceted portrait of the artist as a young man, almost famous and still inventing himself, writing songs in a blaze of passion.
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