A SCHOLARLY BOOK REPOSITORY
*2021 Colorado Book Awards Finalist, Literary Fiction*
MK and Colleen get reacquainted while working at different stores in a bankrupt mall. Way back, the women went to Catholic school together and collaborated on racy letters to a soldier in Vietnam who thought they were much older than seventh graders—a ruse that typifies later shenanigans, usually brought on by red-headed Colleen, a self-proclaimed “Celtic warrior.”
After ditching Colleen’s car to collect the insurance, they drive from one unexpected event to the next in Big Blue, MK’s Buick clunker with a St. Christopher statue glued to the dash. The glow-in-the-dark icon guides them past the farm debris, mine ruins, and fracking waste of the northern brow of Appalachia. Yet their world is not a dystopia. Rather, MK and Colleen show why, amid all the desperation, there is still a community of hope, filled with people looking out for their neighbors and with survivors who offer joy, laughter, and good will.
This edition includes an introduction by Evans scholar Diane Roberts about the enduring relevance and legacy of St. Elmo as a work of literature as well as a reflection of gender roles and the seismic societal changes taking place in the United States in the aftermath of the Civil War.
Riches traces St. George in his various appearances and guises across a wealth of religions and traditions. From Eastern Orthodox, Coptic, and Western European Christian traditions, she follows his trail into Islam, Hinduism, Judaism, Candomblé, and the many pagan systems where he has functioned a symbol of nature, springtime, and healing. Exploring the innumerable ways artists, poets, and painters have engaged his mythical import, she shows him to be at the center of many political divisions, where he has been used to advance one agenda or another. Drawing together many aspects of the cult of St. George, Riches provides a fascinating history of an enduring icon.
In the aftermath of the Civil War, thousands of former slaves made their way from the South to the Kansas plains. Called “Exodusters,” they were searching for their own promised land. Bryan Jack now tells the story of this American exodus as it played out in St. Louis, a key stop in the journey west.
Many of the Exodusters landed on the St. Louis levee destitute, appearing more as refugees than as homesteaders, and city officials refused aid for fear of encouraging more migrants. To the stranded Exodusters, St. Louis became a barrier as formidable as the Red Sea, and Jack tells how the city’s African American community organized relief in response to this crisis and provided the migrants with funds to continue their journey.
The St. Louis African American Community and the Exodusters tells of former slaves such as George Rogers and Jacob Stevens, who fled violence and intimidation in Louisiana and Mississippi. It documents the efforts of individuals in St. Louis, such as Charlton Tandy, Moses Dickson, and Rev. John Turner, who reached out to help them. But it also shows that black aid to the Exodusters was more than charity. Jack argues that community support was a form of collective resistance to white supremacy and segregation as well as a statement for freedom and self-direction—reflecting an understanding that if the Exodusters’ right to freedom of movement was limited, so would be the rights of all African Americans. He also discusses divisions within the African American community and among its leaders regarding the nature of aid and even whether it should be provided.
In telling of the community’s efforts—a commitment to civil rights that had started well before the Civil War—Jack provides a more complete picture of St. Louis as a city, of Missouri as a state, and of African American life in an era of dramatic change. Blending African American, southern, western, and labor history, The St. Louis African American Community and the Exodusters offers an important new lens for exploring the complex racial relationships that existed within post-Reconstruction America.
Berger uses a biographical approach to explore the individuals and institutions that played a leading role in St. Louis’s expansionist reach. He shows how St. Louis business leaders, entrepreneurs, politicians, and investors—often driven by personal and ideological motives, as well as the potential betterment of the city and its people—looked to the west, southwest, Latin America, Europe, Asia, and the Pacific to form economic or political partnerships. Among the people and companies Berger profiles are Thomas Hart Benton, who envisioned a western democratic capitalist empire hosted by St. Louis; cotton exporters James Paramore and William Senter, who were involved in empire building in the southwest and Mexico; St. Louis oil tycoon and railroad investor Henry Clay Pierce, who became deeply involved in political intrigue and intervention in Mexican affairs; entrepreneur and politician David R. Francis, who promoted personal and St. Louis interests in Russia; and McDonnell-Douglas and its founder, James S. McDonnell Jr., who were part of the transformation of St. Louis’s political economy during the Cold War.
Many of these attempted imperial activities failed, but even when they succeeded, Berger explains, the economy and the people of St. Louis did not usually benefit. The vision of a democratic capitalist empire embraced by its exponents proved to be both an illusion and a contradiction. By shifting the focus of foreign relations history from the traditional confines of nation-state conduct to city and regional behavior, this innovative study highlights the domestic foundations and content of foreign policy, opening new avenues for study in the field of foreign relations.
In this book, Eric Sandweiss scrutinizes the everyday landscape -- streets, houses, neighborhoods, and public buildings -- as it evolved in a classic American city. Bringing to life the spaces that most of us pass without noticing, he reveals how the processes of dividing, trading, improving, and dwelling upon land are acts that reflect and shape social relations. From its origins as a French colonial settlement in the eighteenth century to the present day, St. Louis offers a story not just about how our past is diagrammed in brick and asphalt, but also about the American city's continuing viability as a place where the balance of individual rights and collective responsibilities can be debated, demonstrated and adjusted for generations to come.
Drawing on new source materials, the authors delve into the complexities of politics, Indian affairs, slavery, and material culture that defined the city's founding period. Their alternative version of the oft-told tale uncovers the imperial realities--as personified by St. Ange--that truly governed in the Illinois Country of the time, and provide a trove of new information on everything from the fur trade to the arrival of the British and Spanish after the Seven Years' War.
The Veiled Prophet organization has been a vital institution in St. Louis for more than a century. Founded in March 1878 by a group of prominent St. Louis businessmen, the organization was fashioned after the New Orleans Carnival society the Mystick Krewe of Comus. In The St. Louis Veiled Prophet Celebration, Thomas Spencer explores the social and cultural functions of the organization's annual celebration—the Veiled Prophet parade and ball—and traces the shifts that occurred over the years in its cultural meaning and importance. Although scholars have researched the more pluralistic parades of the eighteenth and early nineteenth centuries, very little has been done to examine the elite-dominated parades of the late nineteenth and twentieth centuries. This study shows how pluralistic parades ceased to exist in St. Louis and why the upper echelon felt it was so important to end them.
Spencer shows that the celebration originated as the business elite's response to the St. Louis general strike of 1877. Symbolically gaining control of the streets, the elites presented St. Louis history and American history by tracing the triumphs of great men—men who happened to be the Veiled Prophet members' ancestors. The parade, therefore, was intended to awe the masses toward passivity with its symbolic show of power. The members believed that they were helping to boost St. Louis economically and culturally by enticing visitors from the surrounding communities. They also felt that the parades provided the spectators with advice on morals and social issues and distracted them from less desirable behavior like drinking and carousing.
From 1900 to 1965 the celebration continued to include educational and historical elements; thereafter, it began to resemble the commercialized leisure that was increasingly becoming a part of everyday life. The biggest change occurred in the period from 1965 to 1980, when the protests of civil rights groups led many St. Louisans to view the parade and ball as wasteful conspicuous consumption that was often subsidized with taxpayers' money. With membership dropping and the news media giving the organization little notice, it soon began to wither. In response, the leaders of the Veiled Prophet organization decided to have a "VP Fair" over the Fourth of July weekend. The 1990s brought even more changes, and the members began to view the celebration as a way to unite the St. Louis community, with all of its diversity, rather than as a chance to boost the city or teach cultural values. The St. Louis Veiled Prophet Celebration is a valuable addition not only to the cultural history of Missouri and St. Louis but also to recent scholarship on urban culture, city politics, and the history of public celebrations in America.
This charming autobiography captures the life story of a fascinating woman—a Missouri girl turned world-class soprano who remained true to her roots through it all. Born and reared in St. Louis and proud of her origins, Helen Traubel grew up in a modest German American family. She spent her teens and twenties singing with church choirs and quartets in the city, studying under first- rate teachers. She did not leave Missouri for New York until she was in her early thirties. Although she replaced the great Kirsten Flagstad at the Metropolitan Opera, she refused to confine herself to singing before elite crowds and prided herself on reaching a larger, more general audience via nightclubs, radio, television, and theater.
St. Louis Woman is filled with candid and amusing stories as full of zest as Traubel herself. In the early 1940s, she secured a rare opportunity to audition for the Ford Hour. Arriving at the studio with a terrible case of poison ivy and an understandably short temper, the diva began singing on cue as the top executives of the program listened from upstairs. During her first song, the booth technicians interrupted her performance with laughter. Furious, she announced she would sing no more and started to leave. Without explanation, the technicians asked her to continue. Traubel later discovered that the higher-ups had called down to the technicians demanding they stop playing the Flagstad record and let "that kid" sing.
The qualities that made Traubel such a notable individual are captured in this entertaining book. Her strong, independent character shines through. Outspoken and at times brutally honest, Traubel recounts her experiences at the Met, as both a popular performer and a teacher. She tells of exasperating moments when she was coaching famous pupil Margaret Truman.
This is not a fact-laden examination of the singer's Wagnerian repertory or a study of high opera; rather this engaging book introduces the reader to a nationally renowned performer who, despite her unmatched talent, retained her hometown identity and lived her life as a St. Louis woman.
Margaret’s piety, dignity, and compassion made her a beloved figure long after her death. Her illuminated manuscript reveals the depths of her sanctity, opening with a Latin poem relating the one miracle attributed to her, where she preserved this book from damage. Exquisite illustrations transform the script into an arresting treasure, and Rebecca Rushforth uses incisive and comprehensive commentary to explain the story behind the manuscript and set it within Margaret’s historical context. She explores both the creation of the manuscript and its special meaning for Margaret, along with Margaret’s role as a significant figure in British and world history.
A fascinating piece of historical art, St Margaret’s Gospel-Book will be treasured by historians, religious scholars, and classicists alike.
The impact of St. Mark’s Community Center and United Methodist Church on the city of New Orleans is immense. Their stories are dramatic reflections of the times. But these stories are more than mere reflections because St. Mark’s changed the picture, leading the way into different understandings of what urban diversity could and should mean. This book looks at the contributions of St. Mark’s, in particular the important role played by women (especially deaconesses) as the church confronted social issues through the rise of the social gospel movement and into the modern civil rights era.
Ellen Blue uses St. Mark’s as a microcosm to tell a larger, overlooked story about women in the Methodist Church and the sources of reform. One of the few volumes on women’s history within the church, this book challenges the dominant narrative of the social gospel movement and its past.
St. Mark’s and the Social Gospel begins by examining the period between 1895 and World War I, chronicling the center’s development from its early beginnings as a settlement house that served immigrants and documenting the early social gospel activities of Methodist women in New Orleans. Part II explores the efforts of subsequent generations of women to further gender and racial equality between the 1920s and 1960. Major topics addressed in this section include an examination of the deaconesses’ training in Christian Socialist economic theory and the church’s response to the Brown decision. The third part focuses on the church’s direct involvement in the school desegregation crisis of 1960 , including an account of the pastor who broke the white boycott of a desegregated elementary school by taking his daughter back to class there. Part IV offers a brief look at the history of St. Mark’s since 1965.
Shedding new light on an often neglected subject, St. Mark’s and the Social Gospel will be welcomed by scholars of religious history, local history, social history, and women’s studies.
St. Paul and Epicurus was first published in 1954. 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.
Everyone who is interesting in the meaning of the Bible will find this a revealing study, for it opens up a new window on the New Testament, a window that was walled up centuries ago by prejudice. Professor DeWitt throws new light on the writings of the Apostle Paul by showing how they were influenced by the teachings of the Greek philosopher Epicurus.
The Epicureanism could have a place in Christian religion may come as a surprise to those familiar with the conventional concept of the philosophy of Epicurus. As demonstrated in the meaning of the English word epicure,derived from the name of the ancient philosopher, the modern world has long associated Epicurus with the indulgence of sensual pleasure in food and drink.
But, as Professor DeWitt makes clear both in this volume and in its predecessor, Epicurus and His Philosophy, the pleasures which the ancient Greek espoused as constituting the chief good of life were not the pleasures of the flesh. The merit and the lure, however, of the Epicurean ethic, which allied happiness with pleasure, were so appealing and so widely acknowledged that Paul had no choice but to adopt it and bless it for his followers with the sanction of religion. He could not, though, admit indebtedness to a philosopher who had long been accused of sensualism and atheism, and there was no choice, therefore, but to consign Epicurus to anonymity.
Through his scholarly investigation into the Epicurean source of certain portions of the Epistles, Professor DeWitt provides new explanations or translations for seventy-six biblical verses. The close scrutiny of biblical passages is carried out, not in a spirit of vandalism, but in a quest for accuracy, and the result is a challenging, readable, and absorbing book.
The Chapel of St Peter-on-the-Wall, built on the ruins of a Roman fort, dates from the mid-seventh century and is one of the oldest largely intact churches in England. It stands in splendid isolation on the shoreline at the mouth of the Blackwater Estuary in Essex, where the land meets and interpenetrates with the sea and the sky. This book brings together contributors from across the arts, humanities, and social sciences to uncover the premodern contexts and modern resonances of this medieval building and its landscape setting. In analyzing the significance of the chapel and surrounding landscape over more than a thousand years, this collection additionally contributes to wider debates about the relationship between space and place, and particularly the interfaces between both medieval and modern cultures and also heritage and the natural environment.
Built by the decree of Constantine, rebuilt by some of the most distinguished architects in Renaissance Italy, emulated by Hitler’s architect in his vision for Germania, immortalized on film by Fellini, and fictionalized by a modern American bestseller, St. Peter’s is the most easily recognizable church in the world. This book is a cultural history of one of the most significant structures in the West. It bears the imprint of Bramante, Raphael, Michelangelo, Bernini, and Canova. For Grand Tourists of the eighteenth century, St. Peter’s exemplified the sublime. It continues to fascinate visitors today and appears globally as a familiar symbol of the papacy and of the Catholic Church itself.
The church was first built in the fourth century on what is thought to be the tomb of Peter—the rock upon which Christ decreed his church shall be built. After twelve hundred years, the church was largely demolished and rebuilt in the sixteenth century when it came to acquire its present-day form. St. Peter’s awes the visitor by its gigantic proportions, creating a city within itself. It is the mother church, the womb from which churches around the world have taken inspiration. This book covers the social, political, and architectural history of the church from the fourth century to the present. From the threshold, to the subterranean Roman necropolis, to the dizzying heights of the dome, this book provides rare perspectives and contexts for understanding the shape and significance of the most illustrious church in the world.
Celebrating 250 years, St. Peter's Episcopal Church in the Society Hill neighborhood of Philadelphia, has witnessed a rich mixture of people and events that reflect critical periods of American political and cultural history. George Washington worshiped here as did abolitionists and slave holders, Whigs, Democrats, and Republicans. St. Peter's was a point of first contact for thousands of immigrants, and the church opened schools for immigrants to help them to acculturate to life in Philadelphia.
Opening a window onto colonial Philadelphia and the nation's histories, St. Peter's Church is a glorious testament to this National Historic Landmark. In addition to the stories and hundreds of black-and-white and color photographs, this handsome volume provides a history of the grounds, the churchyard, and the church itself-a classic example of eighteenth-century Philadelphia design that later incorporated the work of renown architects William Strickland, Thomas U. Walter, and Frank Furness.
Through a comprehensive study of changing pottery attributes, Saunders documents the clash of Spanish and Native American cultures in the 16th-century southeastern United States.
By studying the ceramic traditions of the Guale Indians, Rebecca Saunders provides evidence of change in Native American lifeways from prehistory through European contact and the end of the Mission period. The Guale were among the first southeastern groups to come into contact with Spanish and French colonists, and they adapted various strategies in order to ensure their own social survival. That adaptation is reflected, Saunders shows, in the changing attributes of pottery recovered on archaeological sites on the coasts of Georgia and Florida.
Saunders traces the evolution of Guale pottery from the late prehistoric Irene phase through the Mission period at the three archaeological sites. She uses both technological and stylistic attributes to monitor change, paying particular attention to changes in execution and frequency of the filfot cross—a stylized cross that is a symbol of Guale cosmology. The frequency of this symbol in different ceramic components, according to Saunders, is a measure of change in the worldview of the missionized Guale. Although the symbol abruptly changed after the first Spanish contact, it showed remarkable stability through the Mission period, suggesting that traditional craft training and production remained strong despite high mortality rates and frequent relocation.
Only after 1684, when the Guale were relocated to Amelia Island in present-day Florida, did the use of the cross motif decline, suggesting that the Guale who remained in Spanish territory may have conceived of their place in the cosmos differently from their forebears or their contemporaries who fled to the interior.
This sparkling account of the great age of Whiggery during the reigns of George I and II is distinguished by its attention to social history. The author deftly explains how the political transformation which brought an end to the “rage of party” under Queen Anne and ushered in the “strife of faction” under the Hanoverians was related to social and economic conditions. This major political change brought stability to England and—by important, though incremental shifts in mobility, religion, agriculture, industry, and literacy—slowly transformed English society.
W. A. Speck argues that in 1714 England was ruled by rival elites called Tory and Whig and that by 1760 they had fused to form a ruling class. This union became possible as divisive issues faded and economic and political interests were shared. Whiggery itself, however, split apart for lesser reasons. “Country” Whigs were restorationists on moral and religious grounds while “Court” Whigs—neither Saints, nor Spartans, nor Reformers—created the mechanisms to realize the promise of the Glorious Revolution of 1689: mixed monarchy, property and liberty, and Protestantism.
Stability and Strife is the most up-to-date book in English eighteenth-century history in its methods—the use of social science data and literary sources—and in its sophisticated topical and narrative approaches to this fascinating era.
"Shirley Taylor's story gives readers and hearers insight into the town of Bethlehem at the time of the birth of Christ. Wendell Hall's illustrations help us imagine that scene wonderfully. The young homeless boy touches our hearts and imaginations. Not just for children, this is a read aloud book for all ages." - Lauretta Phillips, Storyteller, Author, Radio & TV Host
Hopkins finds that although personal experience with the ACA’s Medicaid expansion increased favorability among low-income Americans, it did not have a broader overall impact on public opinion. Personal experience with the Health Insurance Marketplace did not increase wider support for the ACA either. Due to the complex nature of the law, users of the Marketplace often did not realize they were benefiting from the ACA. Therefore, perceptions of the Marketplace were shaped by high-profile issues with the enrollment website and opposition to the individual mandate. These experiences ultimately offset one another, resulting in little discernable change in public opinion overall. Hopkins argues that political polarization was also responsible for elite’s limited influence and that public opinion on the ACA was largely determined by partisanship and political affiliation. Americans quickly aligned with their party’s stance on the law and were resistant to changing their beliefs despite the efforts of political elites.
Stable Condition is an illuminating examination of the limits of elites’ influence and the forces that shaped public opinion about the Affordable Care Act.
The human race has often put a high value on struggle, strife, turmoil, and excitement. Peace has been regarded as a utopian, unattainable, perhaps dull ideal or as some random element over which we have no control. However, the desperate necessities of the nuclear age have forced us to take peace seriously as an object of both personal and national policy. Stable Peace attempts to answer the question, If we had a policy for peace, what would it look like?
A policy for peace aims to speed up the historically slow, painful, but persistent transition from a state of continual war and turmoil to one of continual peace. In a stable peace, the war-peace system is tipped firmly toward peace and away from the cycle of folly, illusion, and ill will that leads to war.
Boulding proposes a number of modest, easily attainable, eminently reasonable policies directed toward this goal. His recommendations include the removal of national boundaries from political agendas, the encouragement of reciprocal acts of good will between potential enemies, the exploration of the theory and practice of nonviolence, the development of governmental and nongovernmental organizations to promote peace, and the development of research in the whole area of peace and conflict management.
Written in straightforward, lucid prose, Stable Peace will be of importance to politicians, policy makers, economists, diplomats, all concerned citizens, and all those interested in international relations and the resolution of conflict.
To understand this ideology and its effect on society, Lawrence E. Mitchell instructs us to look at the myth of individualism that pervades our laws, our social thought, our institutions, and our philosophies. It is the touchstone of our national debates on welfare reform, salary equity, FDA regulations, and a criminal defendant's right to a fair trial -- and it even infiltrates our private lives every time we argue about the division of household chores or television time. In Stacked Deck, Mitchell shows us how this artificial reality buries the way we truly live.
Mithcell uses examples drawn from history, politics, law, and culture to show how our singular concern with fairness has diminished our sense of vulnerability, so that our ideas of justice, equality, and efficiency are modeled on the capabilities of the strongest in society. Large scale examples -- such as blue collar layoffs and corporate downsizing, natural disasters and catastrophic illnesses -- illustrates the rickety bridge between comfort and disaster. We must be reminded that we are all vulnerable to the forces of economics, society, politics, and nature. Thus, Mitchell proposes, those who start out at the top tend to stay there, just as the weak tend to remain weak.
Stacked Deck does more than outline this problem of American selfishness; it proposes a solution tha tis nothing less than a massive reconception of the way we relate to one another. Mitchell retains what is productive about the myth of the self-reliant individual, while asserting what is necessary to restore a sense of community. He suggests a sweeping intellectual recovery of fairness available to all levels of American society, thereby reclaiming our true sense of responsibility to others in society.
Though we rarely see them at work, building inspectors have the power to significantly shape our lives through their discretionary decisions. The building inspectors of Chicago are at the heart of sociologist Robin Bartram’s analysis of how individuals impact—or attempt to impact—housing inequality. In Stacked Decks, she reveals surprising patterns in the judgment calls inspectors make when deciding whom to cite for building code violations. These predominantly white, male inspectors largely recognize that they work within an unequal housing landscape that systematically disadvantages poor people and people of color through redlining, property taxes, and city spending that favor wealthy neighborhoods. Stacked Decks illustrates the uphill battle inspectors face when trying to change a housing system that works against those with the fewest resources.
If laughter is good medicine, then the twenty-two essays offered here by Dr. Allen B. Weisse should prove a hearty antidote to a host of ills suffered by doctors, students and would-be students of medicine, amateur and professional medical historians, and, of course, patients, those of us who wonder what the medical profession is all about and how it affects us.
Often humorous and always informative, these essays cover a broad range of medical subjects. Weisse tackles medical ethics, offers advice to medical and premedical students and their families, delves into unusual episodes in medical history, confronts considerations of aging and self-image, and discusses the vagaries of rewards and recognition available from medical research. He also examines honesty in medical thinking, investigates ways of dealing with bureaucracies, and considers ways of learning to live with oneself. Finally, he evaluates the changing nature of medicine and medical research and looks into the roles of minorities and women in medicine.
Weisse knows whereof he speaks, enlivening each essay with personal anecdotes. When he explains past and current medical school admissions policies, for example, he approaches the subject with the combined knowledge of a former premedical student, a medical student, a faculty member, and an admissions chairperson over the past thirty years. As a medical researcher whose chief turned against him, he certainly knows what he is talking about in "Betrayal." He also writes with authority in his humorous account of how he, as a senior physician, struggles to keep on top of the overwhelming onslaught of medical advances ("Confessions of Creeping Obsolescence"). And in an essay to boost all of our spirits, he tells how an ivory tower physician (Weisse himself) gets drawn up in the service of the IRS bureaucracy and winds up tweaking its nose a bit ("In the Service of the IRS").
Perhaps nothing better illustrates the vigor, wit, and élan that characterize Weisse’s essays than his titles. "On Chinese Restaurants" deals with unusual syndromes and the way in which they have evolved and affected the way we look at ourselves. Other titles are "Pneumocystis and Me," "The Vanishing Male," "Say It Isn’t ‘No," "Bats in the Belfry or Bugs in the Belly?: Helicobacter and the Resurrection of Johannes Fibiger," and "PC: Politically Correct or Potentially Corrupting?"
Finally, two words in this book’s subtitle succinctly characterize Weisse’s essays: pertinent and impertinent—germane and irreverent information rakishly presented.
Exploring the intersection between performance and politics and the direct impact of the arts on social activism, Dail argues Stage for Action is a theatrical reflection of progressivism and the pro-working-class theatrical aesthetic of the 1940s. The theatre group, which used performance to encourage direct action and personal responsibility for change, eventually would function as the theatrical voice of the United States Progressive Party in the failed presidential campaign of former vice president Henry A. Wallace.
Calling into question the widely held belief that U.S. theatre in the early years of the Cold War was indifferent to activism, Stage for Action offers historians a new interpretation of social activist performance at midcentury.
Using case studies that explore the Eucharistic wafer on the medieval stage, the bloody handkerchief on the Elizabethan stage, the skull on the Jacobean stage, the fan on the Restoration and early eighteenth-century stage, and the gun on the modern stage, Andrew Sofer reveals how stage props repeatedly thwart dramatic convention and reinvigorate theatrical practice.
While the focus is on specific objects, Sofer also gives us a sweeping history of half a millennium of stage history as seen through the device of the prop, revealing that as material ghosts, stage props are a way for playwrights to animate stage action, question theatrical practice, and revitalize dramatic form.
Andrew Sofer is Assistant Professor of English, Boston College. He was previously a stage director.
In this first modern book-length biography of native Englander William E. Burton, theatre historian David L. Rinear explores Burton’s diary, letters, published reviews, and various reminiscences to reveal the tumultuous personal and professional lives of the mid-nineteenth-century actor/manager and his role in American literary history. Stage, Page, Scandals, and Vandals: William E. Burton and Nineteenth-Century American Theatre also provides insight into the cultural and artistic climate of an early period in American history when the country was still forming a national identity.
Burton fled England in 1834 and came to America in the wake of a public scandal caused by his marriage to a sixteen-year-old orphan. Burton was then already married with a ten-year-old son. Settling in Philadelphia, the thirty-two-year-old actor rapidly established himself in the city’s theatrical productions and quickly became an audience favorite.
In 1837, while continuing to act, Burton founded and edited The Gentleman’s Magazine, a monthly literary publication later called Burton’s Gentleman’s Magazine. Burton hired struggling author Edgar Allan Poe as coeditor, and the journal achieved literary acclaim as it first published many of Poe’s short stories and poems.
Burton sold the journal in 1841 and used the money to build a new theatre, which he managed, although the depression of the early 1840s soon drove his venture out of business. After declaring bankruptcy the following year, Burton worked as a touring actor before returning to theatre management in 1845. For the next thirteen years, Burton managed a succession of theatres in Philadelphia, Baltimore, and New York.
Burton’s work as a producer of Shakespearean comedies and romances marks him as the first of the intellectual theatre managers to raise the theatrical experience from mere popular culture to high art. Burton made a fortune in his ventures, amassed the finest private Shakespearean library in the country, and built a grand seaside estate in Glen Cove, Long Island. Shrewd in his personal affairs and in business, Burton also had a violent temper, which led him to viciously attack his competitors. His peculiar domestic relationships marred his brilliant career as an actor, manager, and man of letters; he may have been married to three women at once and lived with two of these women simultaneously.
Fully revealing Burton’s contributions to American culture, Rinear traces Burton’s personal and professional pursuits from his emigration to his death in 1860. Bolstered by twenty-two illustrations, Stage, Page, Scandals, and Vandals sheds light on the history of American entertainment during the antebellum era, exposes the ruthless business practices required to succeed in theatre and literary magazine publishing, and reveals a sense of what constituted celebrity status in mid-nineteenth-century America.
Updating the industry standard stage rigging text for a new generation
First published in 1987 and revised in 1997 and 2007, Stage Rigging Handbook remains the only book in any language that covers the design, operation, and maintenance of stage rigging equipment. Though often unnoticed, these systems are critical in both easing the workload of stage technicians and creating storytelling magic for the audience. This landmark text imparts the foundations for understanding and implementing rigging systems, such that upon completion of the book, the reader is ready to begin hands-on training and practice.
Organized into four sections, the handbook combines research and practical experience to guide riggers through their work. It begins by explaining the construction and care of basic lifting media. Part two analyzes types of rigging systems; then the handbook details the forces that impact rigging, from Newtonian physics to calculating expansive modern systems. Finally, it presents day-to-day best safety practices, including brand new sections on risk assessment and fall protection.
This reorganized and greatly expanded fourth edition of Jay O. Glerum’s industry standard text updates much of the information in the previous editions with the addition of chapters on truss (the framework that supports lighting, screens, and other accessories), motorized chain hoists, hardware, and job safety, including fall protection systems. Award-winning production manager Shane Kelly preserves Glerum’s voice while bringing fresh information to a new generation of riggers, supplementing the text with updated versions of earlier photographs and drawings as well as an additional one hundred illustrations. The handbook facilitates the development of a rigging practice rooted in safety, precision, and professionalism.
One journalist curious about life in the taverns along the stagecoach lines in Wisconsin and northern Illinois from the early 1800s until the 1880s was Harry Ellsworth Cole. While he could not sample strong ales at all of the taverns he wrote about, Cole did study newspaper accounts, wrote hundreds of letters to families of tavern owners, read widely in regional history, and traveled extensively throughout the territory. The result, according to Brunet, is a "nostalgic, sometimes romantic, well-written, and easily digested social history."
At Cole’s death, historian Louise Phelps Kellogg edited his manuscript, which in this case involved turning his notes and illustrations into a book and publishing it with the Arthur H. Clark Company in 1930.
In 1935, a group of journalists and theater artists embarked on an unusual collaboration. With funds from the Federal Theatre Project (FTP), a Depression-era employment initiative established by President Roosevelt’s New Deal, they set out to produce news for the theatrical stage. Over the next four years, the New York–based team created six productions, known as the Living Newspapers. Covering a variety of public issues that included affordable housing, the plight of Dust Bowl farmers, the Tennessee Valley Authority, and labor law, Living Newspaper productions would reach hundreds of thousands of spectators and inspire adaptations across the country.
Staged News interprets the Living Newspaper’s process and repertoire amid journalists’ changing conceptions of their profession. Jordana Cox spotlights marginalized “newsmakers,” particularly Black artists, who challenged the parameters of public knowledge and assumptions surrounding newsworthiness. This timely analysis reveals how a vital theatrical form sprouted from a changing news landscape and reimagined what journalism could do for people seeking democratic change.
Based in the historical archive, Staged Readings presents a panoramic display of mid-century leisure and entertainment. It examines best-selling novels, such as Harriet Beecher Stowe’s Uncle Tom’s Cabin and George Lippard’s The Quaker City. But it also analyzes a series of sensational melodramas, parlor theatricals, doomsday speeches, tableaux vivant displays, curiosity museum exhibits, and fake volcano explosions. These oft-overlooked spectacles capitalized on consumers’ previous cultural encounters and directed their social identifications. The book will be particularly appealing to those interested in histories of popular theater, literature and reading, social class, and mass culture.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Birla reveals how the categories of public and private infiltrated colonial commercial law, establishing distinct worlds for economic and cultural practice. This bifurcation was especially apparent in legal dilemmas concerning indigenous or “vernacular” capitalists, crucial engines of credit and production that operated through networks of extended kinship. Focusing on the story of the Marwaris, a powerful business group renowned as a key sector of India’s capitalist class, Birla demonstrates how colonial law governed vernacular capitalists as rarefied cultural actors, so rendering them illegitimate as economic agents. Birla’s innovative attention to the negotiations between vernacular and colonial systems of valuation illustrates how kinship-based commercial groups asserted their legitimacy by challenging and inhabiting the public/private mapping. Highlighting the cultural politics of market governance, Stages of Capital is an unprecedented history of colonial commercial law, its legal fictions, and the formation of the modern economic subject in India.
"An invaluable resource to teachers of Latin American theater, with texts that provide an accurate panorama of Latin American theater."
---Adam Versenyi, University of North Carolina at Chapel Hill
"A most welcome and needed collection . . . Not only is it the first English-language anthology of theater and performance in Latin America from the Conquest onward, but it also includes excellent introductory and background material . . . certain to become an essential source book."
---Marvin Carlson, City University of New York
"A rich resource for teachers and students, and for everyone intrigued by the history of performing Latin America . . . Diana Taylor and Sarah Townsend locate an animating tension between indigenous and colonial performance practices, and between the irreducibly local character of performance and the insistent pressure---as visible in the sixteenth century as in the twenty-first---of a globalizing, often oppressive modernity."
---W. B. Worthen, Barnard College, Columbia University
Stages of Conflict brings together a vast array of dramatic texts, ambitiously tracing the intersection of theater and social and political life in the Americas over the past five centuries. Including eighteen works faithfully translated into English, the collection moves from a sixteenth century Mayan dance-drama to a 2003 production by the first published indigenous playwright in Mexico. Historical pieces from the sixteenth century to the present highlight the encounter between indigenous tradition and colonialism, while contributions from modern playwrights such as Virgilio Pinero, Jose Triana, and Denise Stolkos take on the tumultuous political and social upheavals of the past century.
The editors have added comprehensive critical commentary that details the origins of each play, affording scholars and students of theater, performance studies, and Latin American studies the opportunity to view the history of a continent through its rich and diverse theatrical traditions.
Diana Taylor is Director of The Hemispheric Institute of Performance and Politics and Professor of Performance Studies and Spanish at New York University. Her books include the award-winning volume The Archive and the Repertoire: Performing Cultural Memory in the Americas.
Sarah J. Townsend is a doctoral student at New York University.
Stages of Emergency covers public education campaigns and school programs—such as the ubiquitous “duck and cover” drills—meant to heighten awareness of the dangers of a possible attack, the occupancy tests in which people stayed sequestered for up to two weeks to simulate post-attack living conditions as well as the effects of confinement on interpersonal dynamics, and the British first-aid training in which participants acted out psychological and physical trauma requiring immediate treatment. Davis also brings to light unpublicized government exercises aimed at anticipating the global effects of nuclear war. Her comparative analysis shows how the differing priorities, contingencies, and social policies of the three countries influenced their rehearsals of nuclear catastrophe. When the Cold War ended, so did these exercises, but, as Davis points out in her perceptive afterword, they have been revived—with strikingly similar recommendations—in response to twenty-first-century fears of terrorists, dirty bombs, and rogue states.
This is the first in-depth study of the entire corpus of Latina theater, based on close readings of works both published and in manuscript. It considers a large body of productions and performances, including works by such internationally known authors as Dolores Prida, Cherríe Moraga, and Janis Astor del Valle.
Applying feminist and postcolonial theory as well as theories of transculturation, Sandoval-Sánchez and Sternbach show how, despite cultural differences among Latinas, their works share a common poetics by building upon the politics of representation, identity, and location. In addition to covering theater, this study also shows that solo performance has its own history, properties, structure, and poetics. It examines performances of Carmelita Tropicana, Monica Palacios, and Marga Gomez—artists whose hybrid identities as Latina lesbians constitute living examples of transculturation in the making—to show how solo performance has roots in and digresses from more traditional modes of theater. With their Latina heritage as a unifying link, these women reflect common traits, patterns, dramatic structures, and properties that overcome regional differences. Stages of Life reads these eclectic cultural productions as a unified body of work that contributes to the formation of Latina identity in America today.
From around the world, whether for New York City's 9/11 Memorial, at exhibits devoted to the arts of Holocaust memory, or throughout Norway's memorial process for the murders at Utøya, James E. Young has been called on to help guide the grief stricken and survivors in how to mark their losses. This poignant, beautifully written collection of essays offers personal and professional considerations of what Young calls the "stages of memory," acts of commemoration that include spontaneous memorials of flowers and candles as well as permanent structures integrated into sites of tragedy. As he traces an arc of memorial forms that spans continents and decades, Young returns to the questions that preoccupy survivors, architects, artists, and writers: How to articulate a void without filling it in? How to formalize irreparable loss without seeming to repair it?
Richly illustrated, the volume is essential reading for those engaged in the processes of public memory and commemoration and for readers concerned about how we remember terrible losses.
From plantation performances to minstrel shows of the late nineteenth century, the roots of black theatre in Texas reflect the history of a state where black Texans have continually created powerful cultural emblems that defy the clichés of horses, cattle, and bravado. Drawing on troves of archival materials from numerous statewide sources, Stages of Struggle and Celebration captures the important legacies of the dramatic arts in a historical field that has paid most of its attention to black musicians.
Setting the stage, the authors retrace the path of the cakewalk and African-inspired dance as forerunners to formalized productions at theaters in the major metropolitan areas. From Houston’s Ensemble and Encore Theaters to the Jubilee in Fort Worth, gospel stage plays of the Black Academy of Arts and Letters in Dallas, as well as San Antonio’s Hornsby Entertainment Theater Company and Renaissance Guild, concluding with ProArts Collective in Austin, Stages of Struggle and Celebration features founding narratives, descriptions of key players and memorable productions, and enlightening discussions of community reception and the business challenges faced by each theatre. The role of drama departments in historically black colleges in training the companies’ founding members is also explored, as is the role the support of national figures such as Tyler Perry plays in ensuring viability. A canon of Texas playwrights completes the tour. The result is a diverse tribute to the artistic legacies that continue to inspire new generations of producers and audiences.
Combining the raw materials of theatre, circus, minstrelsy, and dance with the newer visual codes of motion pictures, Griffith became the first acknowledged artist of American film. Birth of a Nation in particular demonstrates the degree to which he was influenced by the racist justifications and distorting interpretations of the Civil War and the Reconstruction era. Moving through the major phases of Griffith’s career in chapters organized around key films or groups of films, Mayer provides a mesmerizing account of the American stage and cinema in the final years of the nineteenth century and the first three decades of the twentieth century.
Griffith’s relationship to the theatre was intricate, complex, and enduring. Long recognized as the dominant creative figure of American motion pictures, throughout twenty-six years of making more than five hundred films he pillaged, adapted, reshaped, revitalized, preserved, and extolled. By historicizing his representations of race, ethnicity, and otherness, Mayer places Griffith within an overall template of American life in the years when film rivaled and then surpassed the theatre in popularity.
Closely recounting her discovery of the ways in which Rent took materials from her own novel, Schulman takes us on her riveting and infuriating journey through the power structures of New York theater and media, a journey she pursued to seek legal restitution and make her voice heard. Then, to provide a cultural context for the emergence of Rent—which Schulman experienced first-hand as a weekly theater critic for the New York Press at the time of Rent’s premiere—she reveals in rich detail the off- and off-off-Broadway theater scene of the time. She argues that these often neglected works and performances provide more nuanced and accurate depictions of the lives of gay men, Latinos, blacks, lesbians and people with AIDS than popular works seen in full houses on Broadway stages. Schulman brings her discussion full circle with an incisive look at how gay and lesbian culture has become rapidly commodified, not only by mainstream theater productions such as Rent but also by its reduction into a mere demographic made palatable for niche marketing. Ultimately, Schulman argues, American art and culture has made acceptable a representation of “the homosexual” that undermines, if not completely erases, the actual experiences of people who continue to suffer from discrimination or disease. Stagestruck’s message is sure to incite discussion and raise the level of debate about cultural politics in America today.
While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke-White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League.
The legendary University of Chicago football program had an unusual beginning, a dazzling middle, and an inglorious conclusion. Its architect: Amos Alonzo Stagg, the most creative and entrepreneurial college coach of his time. A former all-American gridiron star at Yale, Stagg joined an elite academic institution that boasted intellectual notables like John Dewey, Thorstein Veblen, and Albert Michelson. Within fifteen years, the fame of Stagg's football program had eclipsed even Michelson's renown as the first American citizen to win a Nobel Prize.
Robin Lester follows the commercial trail blazed by Stagg and University President William Rainey Harper and the subsequent transformation of college football into a mass entertainment industry that changed campuses and captured the national imagination. Fascinating and detailed, Stagg's Universityreveals how the University of Chicago's football industry prefigured today's billion-dollar sport juggernaut and details the life and leadership of one of its foundational personages.
This captivating studymaps a history and theory of community-based theater in the United States through the Cornerstone Theater Company. Detailing how the performance-making process contributes to an ongoing negotiation of American identity, Sonja Kuftinec investigates community-based theater to trace the historical affiliations of the form and critically examines how community-based theater both enables community and challenges the very notion of “community” as a stable site.
The process of making and unmaking community is vividly illuminated in the work of the Cornerstone Theater Company, a Los Angeles-based ensemble founded in 1986. From 1986 to 1991, Cornerstone toured nationwide, working mainly with rural towns to create adaptations of classical texts. A Wild West musical Hamlet was performed with residents of Marmarth, North Dakota (population 190), and The House on Walker River, an adaptation of the Oresteia trilogy, was developed with a Native American reservation in Nevada. Since 1991, Cornerstone has performed with urban communities, developing original shows and adaptations of Western and non-Western texts incorporating local histories and community players. These performances rearticulate distinctions among various urban group and between amateur and professional theater.
While Cornerstone’s contemporary work can be contextualized within a historical tradition of grassroots performance, it also complicates this tradition, suggesting that identity may be more dynamic than rooted. By using Cornerstone as a case study, Kuftinec’s analysis of community-based theater’s impact upon rural, urban, and professional sites across the United States proposes that “community” and “America” are vital terms of negotiation rather than fixed entities.
The Provincetown Players created a revolution in American theatre, making room for truly modern approaches to playwriting, stage production, and performance unlike anything that characterized the commercial theatre of the early twentieth century. In Staging America: The Artistic Legacy of the Provincetown Players, Jeffery Kennedy gives readers the unabridged story in a meticulously researched and comprehensive narrative that sheds new light on the history of the Provincetown Players. This study draws on many new sources that have only become available in the last three decades; this new material modifies, refutes, and enhances many aspects of previous studies.
At the center of the study is an extensive account of the career of George Cram Cook, the Players’ leader and artistic conscience, as well as one of the most significant facilitators of modernist writing in early twentieth-century American literature and theatre. It traces Cook’s mission of “cultural patriotism,” which drove him toward creating a uniquely American identity in theatre. Kennedy also focuses on the group of friends he calls the “Regulars,” perhaps the most radical collection of minds in America at the time; they encouraged Cook to launch the Players in Provincetown in the summer of 1915 and instigated the move to New York City in fall 1916.
Kennedy has paid particular attention to the many legends connected to the group (such as the “discovery” of Eugene O’Neill), and also adds to the biographical record of the Players’ forty-seven playwrights, including Susan Glaspell, Neith Boyce, Edna St. Vincent Millay, Floyd Dell, Rita Wellman, Mike Gold, Djuna Barnes, and John Reed. Kennedy also examines other fascinating artistic, literary, and historical personalities who crossed the Players’ paths, including Emma Goldman, Charles Demuth, Berenice Abbott, Sophie Treadwell, Theodore Dreiser, Claudette Colbert, and Charlie Chaplin. Kennedy highlights the revolutionary nature of those living in bohemian Greenwich Village who were at the heart of the Players and the America they were responding to in their plays.
McCormick traces the innovative ways that artists render slavery for present-day audiences. The dramas assembled in this book approach slavery from myriad perspectives—afrofuturist, feminist, and queer—in order to produce new imaginaries that offer more complex depictions of black experience. Through subverting notions of time, race, gender, and familiar histories of slavery themselves, the dramas under discussion produce performances of fugitivity—subversive, radical, and experimental performances of black artistic and political freedom at the site of slavery.
Written by scholars and theater professionals with a wide variety of historical and theoretical expertise, the chapters seek to explore the connections between the German discourse on national theater and emerging ideas about race, analyze how dramaturges deal with older representations of Blackness in current productions, and discuss the contributions Black German playwrights and dramaturges have made to this discourse. Historians question how these plays were staged in their time, while cultural studies scholars contemplate how to interpret the function of race in these plays and how they can continue to be staged today.
A cast with over fifty distinct roles acted out events extending from Palm Sunday to Christ’s death on the cross. One actor became a localized embodiment of Jesus through a process of investiture and mimesis that carried aspects of pre-Columbian materialized divinity into the later colonial period. The play told afar richer version of the Passion story than what later colonial Nahuas typically learned from their priests or catechists. And by assimilating Jesus to an Indigenous, or macehualli, identity, the players enacted a protest against colonial rule.
The situation in eighteenth-century New Spain presents both a unique confrontation between Indigenous communities and Enlightenment era religious reformers and a new chapter in an age-old power game between popular practice and religious orthodoxy. By focusing on how Nahuas localized the universalizing narrative of Christ’s Passion, Staging Christ’s Passion in Eighteenth-Century Nahua Mexico offers an unusually in-depth view of religious life under colonial rule.
Burkhart’s accompanying website also makes available transcriptions and translations of the six Nahuatl-language plays, four Spanish-language plays composed in response to the suppression of the Nahuatl practice, and related documentation, providing a valuable resource for anyone interested in consulting the original material.
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plays composed in response to the suppression of the Nahuatl practice, and related documentation,
providing a valuable resource for anyone interested in consulting the original material
William W. Demastes makes use of the writings of such varied theater practitioners as Antonin Artaud, Jerzy Grotowski, Samuel Beckett, Tony Kushner, Sam Shepard, Spalding Gray, Peter Shaffer, and others, illuminating theater as proof that mind is an extension of body. The living stage incubates and materializes thought in a way that highlights the processes of daily existence outside the theater. This book offers a new way for theater practitioners to look at the unique value of the theater and an invitation for philosophers and scientists to search for new paradigms in theater, the oldest of art forms.
William W. Demastes is Professor of English, Louisiana State University. His previous books include Theatre of Chaos: Beyond Absurdism, into Disorderly Order.
Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.
Essays cover the careers of major figures Clyde Fitch, Rachel Crothers, Mercedes de Acosta, Djuna Barnes, Cole Porter, Lorenz Hart, George Kelly, William Inge, James "Acorn" Oaks, Adam "Vagabond" Badeau, Eric Bentley, Loie Fuller, Robert Edmond Jones, and Jean Rosenthal. Grounded in research into the history of sexuality, the book engages central problems of terminology and evidence in analyzing sexual practices of the past and the modes of articulation of sexuality in theater, conditioned by American culture's peculiar anxieties about both.
Kim Marra is Associate Professor of Theatre Arts, University of Iowa. Robert A. Schanke is Professor of Theatre, Central College, Iowa. They edited Passing Performances: Queer Readings of Leading Players in American Theater History, a previous volume in this series.
Svetlana Evdokimova tackles this gap in Chekhov scholarship, examining the profound connections between his unstated philosophy and his artistic production. Arguing that Chekhov’s four major plays (The Cherry Orchard, Three Sisters, The Seagull, and Uncle Vanya) constitute a kind of cycle, Staging Existence offers a major reappraisal of this critical playwright in Russian intellectual history. Evdokimova’s deep, careful research into Chekhov’s engagement with contemporary philosophy provides insight into both Chekhov’s oeuvre and the writer himself.
But modernization theory was more than simply an expression of Cold War ideology. As the essays in this volume show, the ideal of modernization proliferated throughout the postcolonial world and across ideological lines in places as diverse as East Asia, Southern Africa, and South Asia. Indeed, it was embraced by all who shared the American enthusiasm for the increased production and higher standards of living promised by industrialization -enemies and allies alike.
Situating modernization theory historically, Staging Growth avoids conventional chronologies and categories of analysis, particularly the traditional focus on conflicts between major powers. The contributors employ a variety of approaches-from economic and intellectual history to cultural criticism and biography-to shed fresh light on the global forces that shaped the Cold War and its legacies. Most of the pieces are comparative, exploring how different countries and cultures have grappled with the implications of modern development. At the same time, all of the essays address similar fundamental questions. Is modernization the same thing as Westernization? Is the idea of modernization universally valid? Do countries follow similar trajectories as they undertake development? Does modernization bring about globalization?
In addition to the editors and Akira Iriye, contributors include Michael Adas, Laura Belmonte, Gregg Andrew Brazinsky, Christina Klein, J. Victor Koschmann, and Michael R. Mahoney.
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