Yenching University was perhaps the most impressive example of Sino-Western cooperation in the twentieth century. From its founding in 1916 by Western missionaries until the Communist victory, Yenching mirrored the colorful and frustrating efforts of Chinese and Western liberals to find solutions to China's overriding preoccupation with national salvation. In charting the ebb and flow of university life, this definitive work sheds light on the intellectual, social, and diplomatic forces at work in this transitional period in Chinese history.
Philip West's analysis of the Yenching episode is carefully placed within the political context, both domestic and foreign, of the Republican years (1912–1949). But the author sees intercultural history as being more than an extension of politics and diplomacy. The early bond between Chinese and Westerners at Yenching, despite its fame as an educational institution, was a religious one. Rising national consciousness, student radicalization, and China's unending experience of war weakened that religious tie. And yet religious purposes are a part of the Yenching story to the end.
In his handling of intercultural history, West has a keen appreciation for the interplay of political forces and individuals. The demise of Yenching and the breakdown of Sino-Western relations generally are seen in terms of the individual behavior of Yenching personalities, the pressures of Communist ideology, and also Western diplomacy surrounding the Korean War. Throughout this study major attention is given to the pivotal role of that towering personality in Sino-Western relations, John Leighton Stuart, Yenching's longtime president and the last American Ambassador to China prior to the Communist takeover.
A sweeping reassessment of our longing for the past, from the rise of “retro” to the rhetoric of Brexit and Trump.
Nostalgia has a bad reputation. Its critics dismiss it as mere sentimentality or, worse, a dangerous yearning for an imagined age of purity. And nostalgia is routinely blamed for trivializing the past and obscuring its ugly sides. In Yesterday, Tobias Becker offers a more nuanced and sympathetic view. Surveying the successive waves of nostalgia that swept the United States and Europe after the Second World War, he shows that longing for the past is more complex and sometimes more beneficial than it seems.
The current meaning of “nostalgia” is surprisingly recent: until the 1960s, it usually just meant homesickness, in keeping with the original Greek word. Linking popular culture to postwar politics in the United States, Great Britain, and Germany, Becker explains the shift in meaning. He also responds to arguments against nostalgia, showing its critics as often shortsighted in their own ways as they defend an idea of progress no less naïve than the wistfulness they denounce. All too often, nostalgia itself is criticized, as if its merit did not depend on which specific past one longs for.
Taking its title from one of the most popular songs of all time, and grounded in extensive research, Yesterday offers a rigorous and entertaining perspective on divisive issues in culture and politics. Whether we are revisiting, reviving, reliving, reenacting, or regressing, and whether these activities find expression in politics, music, fashion, or family history, nostalgia is inevitable. It is also powerful, not only serving to define the past but also orienting us toward the future we will create.
Early in a sixteen-year sojourn in Mexico as an engineer for an American mining company, John W. F. Dulles became fascinated by the story of Mexico’s emergence as a modern nation, and was imbued with the urge to tell that story as it had not yet been told—by letting events speak for themselves, without any interpretations or appraisal.
The resultant book offers an interesting paradox: it is “chronicle” in the medieval sense—a straightforward record of events in chronological order, recounted with no effort at evaluation or interpretation; yet in one aspect it is a highly personal narrative, since much of its significant new material came to Dulles as a result of personal interviews with principals of the Revolution. From them he obtained firsthand versions of events and other reminiscences, and he has distilled these accounts into a work of history characterized by thorough research and objective narration.
These fascinating interviews were no more important, however, than were the author’s many hours of laborious search in libraries for accounts of the events from Carranza’s last year to Calles’ final retirement from the Mexican scene. The author read scores of impassioned versions of what transpired during these fateful years, accounts written from every point of view, virtually all of them unpublished in English and many of them documents which had never been published in any language.
Combining this material with the personal reminiscences, Dulles has provided a narrative rich in its new detail, dispassionate in its presentation of facts, dramatic in its description of the clash of armies and the turbulence of rough-and-tumble politics, and absorbing in its panoramic view of a people’s struggle.
In it come to life the colorful men of the Revolution —Obregón, De la Huerta, Carranza, Villa, Pani, Carillo Puerto, Morones, Calles, Portes Gil, Vasconcelos, Ortiz Rubio, Garrido Canabal, Rodríguez, Cárdenas. (Dulles’ narrative of their public actions is illumined occasionally by humorous anecdotes and by intimate glimpses.) From it emerges also, as the main character, Mexico herself, struggling for self-discipline, for economic stability, for justice among her citizens, for international recognition, for democracy.
This account will be prized for its encyclopedic collection of facts and for its important clarification of many notable events, among them the assassination of Carranza, the De La Huerta revolt, the assassination of Obregón, the trial of Toral, the resignation of President Ortiz Rubio, and the break between Cárdenas and Calles. More than sixty photographs supplement the text.
This is the only book to seriously treat the intriguing linguistic and cultural phenomenon of the intimate contact between Yiddish and English over the past 120 years.
Yiddish arrived in America as the mother tongue of millions of Jewish immigrants from eastern Europe. Not only did this language without a homeland survive in the great American melting pot, it infiltrated the majority language, English, with a wide variety of new words and expressions and helped to establish a new ethnic language called "Jewish English." New Yorkers, in particular, have adopted a long list of Yiddish words, including the well-known "kosher," "chutzpah," "klutz," "yenta," "nosh," "mavin," "schlep," and "shmo."
Yiddish had first developed from language sharing as Jews of northern France and northern Italy migrated into the German-speaking region of the Rhine Valley in the Middle Ages. Sol Steinmetz traces the development of such words as bonhomme from the Old French meaning "good man" to the Yiddish of bonim, or shul for synagogue derived from the German schuol, meaning "school," which had come originally from the Latin schola, for example. With a rich collection of quotations from literature and the press, Steinmetz documents the unusually high lexical, semantic, and intonational exchanges between Yiddish and English in America. He offers more than 1,200 Yiddish words, expressions, idioms, and phrases that have melted into the English vernacular.
Yiddish and English is important for Judaica collections with its two appendixes-one on the romanization of Yiddish and another of Yiddish-origin words, a Jewish-English glossary, a selected bibliography, and an index. But this slim volume is so entertaining and informative for the general reader that it is recommended for anyone who delights in word derivations and language.
Much of twentieth-century philosophy was organized around the “linguistic turn,” in which metaphysical and epistemological issues were approached through an analysis of language. This turn was marked by two assumptions: that it was primarily the semantics of language that was relevant to broader philosophical issues, and that declarative assertions were the only verbal acts of serious philosophical interest. In ‘Yo!’ and ‘Lo!’ Rebecca Kukla and Mark Lance reject these assumptions. Looking at philosophical problems starting with the pragmatics of language, they develop a typology of pragmatic categories of speech within which declaratives have no uniquely privileged position. They demonstrate that non-declarative speech acts—including vocative hails (“Yo!”) and calls to shared attention (“Lo!”)—are as fundamental to the possibility and structure of meaningful language as are declaratives.
Entering into conversation with the work of Anglo-American philosophers such as Wilfrid Sellars, Robert Brandom, and John McDowell, and Continental philosophers including Heidegger and Althusser, ‘Yo!’ and ‘Lo!’ offers solutions (or dissolutions) to long-standing philosophical problems, such as how perception can be both inferentially fecund and responsive to an empirical world, and how moral judgment can be both objective and inherently motivating.
The Yogaśāstra and its voluminous auto-commentary, the Svopajnavrtti, is the most comprehensive treatise on Śvetāmbara Jainism. Written in the twelfth century by the polymath Hemacandra, it was instrumental in the survival and growth of Jainism in India as well as in the spreading of Sanskrit culture within Jaina circles. Its influence extended far beyond confessional and geographical borders and it came to serve as a handbook for the Jain community in Gujarat and overseas.
It is a systematic presentation of a set of ideas and practices originally belonging to the Śvetāmbara canonical scriptures and traditions molded into a coherent whole with the help of a long row of scholastic thinkers. Hemacandra integrates innovations of his own as well as non-Jain elements of pan-Indian and Saiva provenance, attesting to a strong Tantric influence on medieval Jainism. Some of these elements came to be perpetually included within Śvetāmbara orthopraxy and orthodoxy due to the normative status acquired by the Yogaśāstra.
The present translation is the first of its kind in a Western language.
In this novel of the mestizo, or mixed-blood, Frank Waters completes the Southwestern canvas begun in The Man Who Killed the Deer and People of the Valley. Set in a violent Mexican border town, the story centers on Barby, a tormented mestizo, Guadalupe, the mestiza “percentage-girl,” and Tai-Ling, the serene yogi. Their fates mingle though each remains alone—Barby bound to the brute rages of the night; Guadalupe unconscious of all save the sun of her sexuality; Tai-Ling believing it is possible to transcend completely the flow of life.
What are your rights if you are fired from your job? What should you do if you are a crime victim or witness? How can you fight a child custody battle? What can you do if your landlord refuses to provide you with heat in the winter?
You and the Law in New Jersey, newly updated, is the ideal guidebook to assist readers in understanding the law, their rights, and how to get legal help. In clear, straightforward language, the book describes how law is made, how to do legal research, how the state and federal court systems work, how to get help if you can't afford a lawyer, how to hire a lawyer, and what to do if you are sued. The second edition contains much new information, including a chapter on credit, debt, and banking, and others on the rights of senior citizens, veterans, and people with disabilities. The authors have also expanded their information on the rights of renters, homeowners, and consumers of public utilities, as well as their treatment of employment law. They have rewritten chapters on health and public benefits to address the recent sweeping reforms of federal and state law. Other topics include family matters such as marriage, divorce, adoption, and domestic violence; the landlord-tenant relationship and buying a home; consumer rights; the criminal justice system; and citizen involvement in environmental law.
You and Your Deaf Child is a guide for parents of deaf or hard of hearing children that explores how parents and their children interact. It examines the special impact of having a deaf child in the family.
Eleven chapters focus on such topics as feelings about hearing loss, the importance of communication in the family, and effective behavior management. Many chapters contain practice activities and questions to help parents retain skills taught in the chapter and check their grasp of the material. Four appendices provide references, general resources, and guidelines for evaluating educational programs.
Once parents have worked through You and Your Deaf Child, this friendly guide can be referred to for specific information and advice as different situations arise.
Winnowed from a distinguished career, then distilled, then polished and winnowed again, the poems in You Are Here are Leon Stokesbury’s best from fifty years of published work.
The selections from his earlier volumes are as fully realized as one would expect from the winner of the AWP Poetry Competition and the Poets’ Prize. But it is in Stokesbury’s new work, collected under the heading “These Days,” that he reveals something completely different. From a carnival sideshow to Hitchcock’s Mount Rushmore, from John Keats’s backyard to the miseries of a failed crematorium operator, every turned page divulges a particular we didn’t see coming. You Are Here is like a sideshow of this modern world, even when we discover, amazed, our selves looking back at us.
“Why do we still only stand here?” Stokesbury asks in one of his earliest salvos. The poems in this collection give such varied answers that readers will have no idea what the next page holds, only that they will find themselves somewhere new.
Let's face it--it's a tough economic world today and there's cutthroat competition. Dive into Adubato's book and get ready to turn a powerful page in life.
Steve Adubato's entire professional life has been about branding--learning it, living it, making mistakes at it, teaching it at several universities, while discovering how to find the fine line between shameless self-promotion and smart, strategic branding--first for himself, then for others, and now for readers interested in an honest analysis of the good and bad in practiced branding.
So, what's really in this book for you? Adubato profiles the brands of more than thirty people and companies and skillfully analyzes and dissects their strategies. His sage advice and on-target approach will help readers who:
Those who do not have their heads buried too deeply in partisan sands will know that there is something awry with the American form of electoral democracy. Florida's continuing ability to misplace votes recently and in the 2000 Presidential election is only part of the iceberg we have been made privy to-and Steven Schier takes a good, hard, evaluative look not only at what is there in plain sight, but that which lurks below the surface (and not only in Florida and not only with the electoral college). He further proposes practical improvements that will make our surprisingly peculiar democratic processes healthy, whole, and responsive again.
Identifying four essential evaluative criteria for a democracy that genuinely works, Schier asks us to examine the degree to which our system promotes political stability, the degree to which our elected officials are held accountable, what the problems are with voter turnout and how to improve it, and asks for a meaningful scrutiny of governmental policy.
No look at our peculiar democracy would be complete without an examination of other established democracies, nor a look at how special interests warp political parties and the concept of majority rule. The solution to many of our electoral problems, Schier argues, lies in enhancing the roles and influence of political parties. Schier proposes reforms that include broadening voter registration; giving parties large blocks of free TV time; adopting one-punch partisan ballots, making it easier for voters to cast a straight-party vote; abandoning initiatives which clutter up the ballot; and utilizing party-based financing to boost voter turnout. With these proposals, he encourages the creative consideration of election reform, and shows how the Florida 2000 race may have played out had these suggestions been in place.
Schier's book appeals to any and every citizen interested in our electoral system and its role in governmental politics. It is invaluable for professionals in political science and ideal for students in American government, political parties, elections, and political behavior courses, as well for political scientists. Any citizens concerned about the conduct of American elections will discover here a fresh and focused analysis of our problems at the ballot box.
Does God love and care for each individual? Should the Bible be interpreted literally? Why are we here? Questions such as these persist for many people today. Grant Schnarr presents "the new Christianity," based on the Bible and the teachings of the eighteenth-century theologian Emanuel Swedenborg. Schnarr examines the underlying reasons that prevent people from truly believing and provides logical and positive answers to life's questions. The result is a solid foundation for building faith and embracing a relationship with God.
Who of us cannot remember the pain and humiliation of being rejected by our classmates? However thick-skinned or immune to such assaults we may become as adults, the memory of those early exclusions is as palpable to each of us today as it is common to human experience. We remember the uncertainty of separating from our home and entering school as strangers and, more than the relief of making friends, we recall the cruel moments of our own isolation as well as those children we knew were destined to remain strangers.
In this book Vivian Paley employs a unique strategy to probe the moral dimensions of the classroom. She departs from her previous work by extending her analysis to children through the fifth grade, all the while weaving remarkable fairy tale into her narrative description. Paley introduces a new rule—“You can’t say you can’t play”—to her kindergarten classroom and solicits the opinions of older children regarding the fairness of such a rule. We hear from those who are rejected as well as those who do the rejecting. One child, objecting to the rule, says, “It will be fairer, but how are we going to have any fun?” Another child defends the principle of classroom bosses as a more benign way of excluding the unwanted.
In a brilliant twist, Paley mixes fantasy and reality, and introduces a new voice into the debate: Magpie, a magical bird, who brings lonely people to a place where a full share of the sun is rightfully theirs. Myth and morality begin to proclaim the same message and the schoolhouse will be the crucible in which the new order is tried. A struggle ensues and even the Magpie stories cannot avoid the scrutiny of this merciless pack of social philosophers who will not be easily caught in a morality tale.
You Can’t Say You Can’t Play speaks to some of our most deeply held beliefs. Is exclusivity part of human nature? Can we legislate fairness and still nurture creativity and individuality? Can children be freed from the habit of rejection? These are some of the questions. The answers are to be found in the words of Paley’s schoolchildren and in the wisdom of their teacher who respectfully listens to them.
Winner of a 2015 Obie Award for Playwriting
Mae has returned home to help her father while he undergoes treatment for cancer. But she needs a little help herself. She’s just lost her boyfriend and her job. (It turns out there are consequences to dating your boss . . .) And she’s desperately craving intimacy of any sort. Mae escapes into the the arms of a chain-smoking, imaginary Cowboy who turns her on and ties her up. And she escapes into chatter with her siblings as they attempt to distract and entertain themselves in a hospital waiting room. But ultimately, it’s her deep love for her father that teaches Mae to remain optimistic and ambitious in the face of suffering and that gets her back on track.
Miranda Weber is a hot mess. In Paula Whyman’s debut collection of stories, we find her hoarding duct tape to ward off terrorists, stumbling into a drug run with a crackhead, and—frequently—enduring the bad behavior of men. A drivers’ education class pulsing with racial tension is the unexpected context of her sexual awakening. As she comes of age, and in the three decades that follow, the potential for violence always hovers nearby. She’s haunted by the fate of her disabled sister and—thanks to the crack cocaine epidemic of the ’80s, the wars in the Middle East, and sniper attacks—the threat of crime and terror in her hometown of Washington, D.C. Miranda can be lascivious, sardonic, and maddeningly self-destructive, but, no matter what befalls her, she never loses her sharp wit or powers of observation, which illuminate both her own life and her strange, unsettling times.
When Clinton Giddings Brown (1882–1964) retired from a long and successful career as a trial lawyer in San Antonio, Texas, fishing on the Gulf Coast was out—by doctor’s orders. So he sat on the front gallery of his house in San Antonio and fished with a lead pencil in the richly stocked memories of his professional life. “Some days I didn’t get a nibble, but some mornings they were biting fine.”
The resultant and delightful catch is the story of a full, merry, and successful life. From the day in 1906 when “Mr. Clint” hung out his shingle in a little office over his father’s bank, through the long succession of “fine scraps, rough and tumble, no holds barred,” which were the jury cases he tried for defendant corporations in personal-injury damage suits, there was not much about the law and about human nature that he did not have the opportunity to learn.
The first client in the little office was Charlie Ross, a Pullman porter who wanted to make sure that the title on his new house was clear. The fee was $15, and Charlie was his friend for life. In the pages that follow the reader will meet many other unforgettable characters, including Dr. John Brinkley, the man who made a million dollars a year from his goat-gland operation until Dr. Morris Fishbein called him a “quack”; old Jim Wheat, who killed a white man, and Jim’s little grandson Lige, who knew what God would do to him if he told lies in court; Bosco, who forgot his complete paralysis when the lady lure came into the picture; and pretty little Mary, whom the jury loved.
Brown was elected district attorney for Bexar County, Texas, in 1913 and became mayor of San Antonio the following year; in the latter office he served two terms, resigning to join the Army in the First World War. On his return from France he was invited to work with a law firm that represented many large corporations, among them the Public Service Company, which ran San Antonio’s streetcar and bus lines, and the Southern Pacific Railroad. Soon made a partner, he remained with the firm until his retirement, and through a quarter of a century tried about as many jury cases as any other attorney in the city.
You May Take the Witness is a book for anyone who has ever felt the fascination of courtrooms and trials, and who has not? It is also a book in which lawyers will find an excellent refresher course for both mind and spirit. Here are invaluable tips on all the ins-and-outs of jury trial, not from the flat dimensions of a law-school text but from the full, real world of actual trials and the men and women involved. Brown tells how to handle witnesses and to pick juries, when to object and when not to object. The most important lesson of all, he says, is to value the jury and be an honest person before them. “The jury is decent, so you be decent, and ‘be yourself.’”
It is clear that Clinton Giddings Brown succeeded as a lawyer because he succeeded as a human being, just as it is clear that he knows how to tell story after fine story because he enjoyed living each episode of his life to its fullest.
Passover is among the most widely observed holidays for American Jews. During this festival of redemption, Jewish families retell the biblical story of Exodus using a ritual book known as a haggadah, often weaving modern tales of oppression through the biblical narrative. References to the Holocaust are some of the most common additions to contemporary haggadot. However, the parallel between ancient and modern oppression, which seems obvious to some, raises troubling questions for many others. Is it possible to find any redemptive meaning in the Nazi genocide? Are we adding value to this unforgivable moment in history?
Liora Gubkin critiques commemorations that violate memory by erasing the value of everyday life that was lost and collapse the diversity of responses both during the Shoah and afterward. She recounts oral testimonies from Holocaust survivors, cites references to the holiday in popular American culture, and analyzes examples of actual haggadot. Ultimately, Gubkin concludes that it is possible and important to make a space for Holocaust commemoration, all the time recognizing that haggadot must be constantly revisited and “performed.”
The past few decades have seen a remarkable surge in Jewish influences on American culture. Entertainers and artists such as Jerry Seinfeld, Adam Sandler, Allegra Goodman, and Tony Kushner have heralded new waves of television, film, literature, and theater; a major klezmer revival is under way; bagels are now as commonplace as pizza; and kabbalah has become as cool as crystals. Does this broad range of cultural expression accurately reflect what it means to be Jewish in America today?
Bringing together fourteen new essays by leading scholars, You Should See Yourself examines the fluctuating representations of Jewishness in a variety of areas of popular culture and high art, including literature, the media, film, theater, music, dance, painting, photography, and comedy. Contributors explore the evolution that has taken place within these cultural forms and how we can best explain these changes. Are variations in our understanding of Jewishness the result of general phenomena such as multiculturalism, politics, and postmodernism, or are they the product of more specifically Jewish concerns such as the intermarriage/continuity crisis, religious renewal, and relations between the United States and Israel?
Accessible to students and general readers alike, this volume takes an important step toward advancing the discussion of Jewish cultural influences in this country.
In 1952 the New Yorker published a three-part essay by A. J. Liebling in which he dubbed Chicago the "Second City." From garbage collection to the skyline, nothing escaped Liebling's withering gaze. Among the outraged responses from Chicago residents was one that Liebling described as the apotheosis of such criticism: a postcard that read, simply, "You were never in Chicago."
Neil Steinberg has lived in and around Chicago for more than three decades—ever since he left his hometown of Berea, Ohio, to attend Northwestern—yet he remains fascinated by the dynamics captured in Liebling's anecdote. In You Were Never in Chicago Steinberg weaves the story of his own coming-of-age as a young outsider who made his way into the inner circles and upper levels of Chicago journalism with a nuanced portrait of the city that would surprise even lifelong residents.
Steinberg takes readers through Chicago's vanishing industrial past and explores the city from the quaint skybridge between the towers of the Wrigley Building, to the depths of the vast Deep Tunnel system below the streets. He deftly explains the city's complex web of political favoritism and carefully profiles the characters he meets along the way, from greats of jazz and journalism to small-business owners just getting by. Throughout, Steinberg never loses the curiosity and close observation of an outsider, while thoughtfully considering how this perspective has shaped the city, and what it really means to belong. Intimate and layered, You Were Never in Chicago will be a welcome addition to the bookshelves of all Chicagoans, be they born in the city or forever transplanted.
Anna Akhmatova lived through pre-revolution Russia, Bolshevism, and Stalinism. Throughout it all, she maintained an elegant, muscular style that could grab a reader by the throat at a moment’s notice. Defined by tragedy and beauty in equal measure, her poems take on romantic frustration and the pull of the sensory, and find power in the mundane. Above all, she believed that a Russian poet could only produce poetry in Russia.
You Will Hear Thunder spans Akhmatova’s very early career into the early 1960s. These poems were written through her bohemian prerevolution days, her many marriages, the terror and privation of life under Stalin, and her later years, during which she saw her work once again recognized by the Soviet state. Intricately observed and unwavering in their emotional immediacy, these strikingly modern poems represent one of the twentieth century’s most powerful voices.
Anna Akhmatova (1889–1966) was part of that magnificent and in many ways tragic generation of Russian artists which came to first maturity before 1917, and which then had to come to terms with official discouragement and often persecution. As D.M. Thomas points out in his introduction, practically none of her poetry was published between 1923 and 1940. Her poetic range was wide, from the transparent anonymity of “Requiem” to the symphonic complexity of “Poem without a Hero.” She was revered and loved not only by the best of her fellow poets but by the ordinary people of Russia: five thousand mourners, mostly the young, crowded to her requiem mass in a Leningrad church.
You Will Hear Thunder brings together for the first time all D.M. Thomas’s translations of Anna Akhmatova’s poems. They were very highly praised on their separate appearances in 1976 and 1979. John Bayley called them “a mastery achievement,” and said of Thomas that “he has profound reverence and affection for the original;” while Donald David wrote that Thomas’s translation was “The first version to explain to me why Akhmatova was so much esteemed by those great poets, Pasternak and Mandelstam and Tsvetaeva.” It is good to have these powerful, noble and compassionate poems in one set of covers.
The mountains of southwestern Pennsylvania provide the setting for the most popular whitewater in America: the Youghiogheny River at Ohiopyle. People from all over the nation come to run the rapids, while others simply enjoy the natural beauty of Ohiopyle State Park. But this Appalachian river has many faces as it flows from its source among the scattered mountain farms of western Maryland to its confluence with the Monongahela in the industrial outskirts of Pittsburgh. Though always a home to people who cherish their mountain roots, the region’s river offers recreation for millions of Americans.
By canoe, raft, van, and on foot, Tim Palmer explores the river from its highest spring to its industrial end. He writes about the people - afternoon visitors and eigth-generation natives - and about their pasts and their hopes, about the shaping of the land, and the land’s inevitable shaping of them.
The author chronicles the rise of the five Ohiopyle rafting companies that host 80,000 visitors each year and then takes the reader on one of these outfitted voyages. Finally, Palmer paddles beyond the Appalachians to the river’s urban end near Pittsburgh. Strip mining, land development, and recreation management are examined with a consciousness that asks, What will happen to this remarkable but threatened place?
As the 1960s ended, Herbie Hancock embarked on a grand creative experiment. Having just been dismissed from the celebrated Miles Davis Quintet, he set out on the road, playing with his first touring group as a leader until he eventually formed what would become a revolutionary band. Taking the Swahili name Mwandishi, the group would go on to play some of the most innovative music of the 1970s, fusing an assortment of musical genres, American and African cultures, and acoustic and electronic sounds into groundbreaking experiments that helped shape the American popular music that followed. In You’ll Know When You Get There, Bob Gluck offers the first comprehensive study of this influential group, mapping the musical, technological, political, and cultural changes that they not only lived in but also effected.
Editorial Advisory Board: Sarah Park Dahlen, Associate Professor, School of Information Sciences, University of Illinois Urbana-Champaign; Marianne Martens, Associate Professor, School of Information, Kent State University; Amy Pattee, Associate Professor and Co-coordinator of Dual-Degree MS LIS/MA Children’s Literature, School of Library and Information Science, Children’s Literature, Simmons University
“Comprehensive and substantial … a highly recommended resource," raved VOYA about the third edition. Now, to keep pace with changes in the field of publishing and realign itself to the newest generation of young adults, Cart returns with a sweeping update of his classic text. Relied upon by educators, LIS instructors and students, and practitioners for its insight and thoroughness, his book
United States senator "Young Bob" La Follette entered politics as a young reformer in the shadow of his legendary father, "Fighting Bob" La Follette. He made his own mark as a key architect of Roosevelt’s New Deal and as a champion of labor rights and civil liberties. But in 1946 he was unexpectedly unseated by Joseph McCarthy, whose rise to Cold War notoriety foreshadowed La Follette’s despair and suicide in 1953. This new edition updates the only full scale biography of La Follette,Jr., the first to exploit his voluminous collection of personal papers. Patrick J. Maney makes clear that Young Bob’s story is as relevant today as it was when he died. His life stands as dramatic evidence of how one of the most respected politicians of his time bridged the political spectrum and was admired by both liberals like FDR and Harry Truman and conservatives like Robert Taft and Richard Nixon.
On January 2, 1932, near Springfield, Missouri, ten poorly armed law enforcement officers set out to arrest two local farm boys for auto theft. A few minutes later, six of the officers lay dead and three were wounded, setting a record that stands to this day for the greatest number of police officers killed in one incident in the history of the United States. This is the story of how it happened and of the unlikely people whose lives were forever changed.
The two killers, Jennings and Harry Young, were from a peaceful, tiny community named Brookline in central Greene County, Missouri. The "massacre" itself took place at the quiet orderly farm home of the J. D. Young family. Paul and Mary Barrett trace the personalities of those involved in the incident, describe the events of the fateful day, and examine the aftermath of the killings, detailing what was called "the greatest man hunt in the history of Texas," which culminated in the brothers' deaths in Houston.
p>Young Children Learning provides vivid insight into the way young children think, talk, and learn from their mothers. It reveals the richness of the home as a learning environment and shows how much children can learn through the ordinary conversations of everyday life.
The book describes a research study in which four-year-old girls were tape-recorded talking to their mothers at home and to their teachers at nursery school. At home the children range freely over a wide variety of topics--work, the family, birth, growing up, death. They talk about plans for the future and puzzle over such diverse topics as the shapes of roofs and chairs, the nature of Father Christmas, and whether the queen wears curlers in bed. In many conversations the children are actively struggling to understand a new idea or the meaning of an unfamiliar word. These "passages of intellectual search" show the children to be persistent and logical thinkers.
In sharp contrast, the conversations between these same children and their nursery school teachers lack richness, depth, and variety. The questioning, puzzling child is gone: in her place is a child who seems subdued and whose conversations with adults are mainly restricted to answering questions rather than asking them. These observations show how strongly young children can be affected by the move from one setting to another, and they suggest that, even at the nursery stage, children reserve their best thinking for outside the classroom, with a resulting compartmentalization of the knowledge they acquire at school.
The book challenges the widely held belief that parents need to learn from professionals how to educate and bring up their children; above all, it persuades us to value parenting more highly and to have respect for the intellectual capabilities of young minds.
Lucille M. Schultz's The Young Composers: Composition's Beginnings in Nineteenth-Century Schools is the first full-length history of school-based writing instruction. Schultz demonstrates that writing instruction in nineteenth-century American schools is much more important in the overall history of writing instruction than we have previously assumed.
Drawing on primary materials that have not been considered in previous histories of writing instruction—little-known textbooks and student writing that includes prize-winning essays, journal entries, letters, and articles written for school newspapers—Schultz shows that in nineteenth-century American schools, the voices of the British rhetoricians that dominated college writing instruction were attenuated by the voice of the Swiss education reformer Johann Heinrich Pestalozzi. Partly through the influence of Pestalozzi's thought, writing instruction for children in schools became child-centered, not just a replica or imitation of writing instruction in the colleges.
It was also in these nineteenth-century American schools that personal or experience-based writing began and where the democratization of writing was institutionalized. These schools prefigured some of our contemporary composition practices: free writing, peer editing, and the use of illustrations as writing prompts. It was in these schools, in fact, where composition instruction as we know it today began, Schultz argues.
This book features a chapter on the agency of textbook iconography, which includes illustrations from nineteenth-century composition books as well as a cultural analysis of those illustrations. Schultz also includes a lengthy bibliography of nineteenth-century composition textbooks and student and school newspapers.
A new history of crisis responses in the central bank’s formative years.
The long-standing description of the Federal Reserve as a “lender of last resort” refers to the central bank’s emergency liquidity provision for financial entities in periods of crisis. As Mark Carlson shows, this function was foundational to how the Fed was designed but has, at times, proven challenging to implement. The Young Fed examines the origins of the Federal Reserve’s emergency liquidity provision which, along with the setting of monetary policy, has become a critical responsibility.
Focusing on the Fed’s response to the financial crises of the 1920s, Carlson documents the formative deliberations of central bank policymakers regarding how to assist banks experiencing distress; the lessons that were learned; and how those lessons shaped subsequent policies. Carlson depicts an early Fed that experimented with a variety of approaches to crises, ranging from bold spectacles featuring cash-filled armored cars to behind-the-scenes interventions to prevent inducing panics or bank runs. The Young Fed weaves previously unpublished material from the Fed archives into a watershed work in American economic history: a deeply sourced account of how the world’s most important central bank became a lender of last resort.
A History Book Club Reading Selection
Despite his military achievements and his association with many of the great names of American history, Godfrey Weitzel (1835–1884) is perhaps the least known of all the Union generals. After graduating from West Point, Weitzel, a German immigrant from Cincinnati, was assigned to the Army Corps of Engineers in New Orleans. The secession of Louisiana in 1861, with its key port city of New Orleans, was the first of a long and unlikely series of events that propelled the young Weitzel to the center of many of the Civil War’s key battles and brought him into the orbit of such well-known personages as Lee, Beauregard, Butler, Farragut, Porter, Grant, and Lincoln. Weitzel quickly rose through the ranks and was promoted to brigadier general and, eventually to commander of Twenty-Fifth Corps, the Union Army’s only all-black unit. After fighting in numerous campaigns in Louisiana and Virginia, on April 3, 1865, Weitzel marched his troops into Richmond, the capital of the Confederacy, capturing the city for the Union and precipitating the eventual collapse of the Southern states’ rebellion.
G. William Quatman’s minute-by-minute narrative of the fall of Richmond lends new insight into the war’s end, and his keen research into archival sources adds depth and nuance to the events and the personalities that shaped the course of the Civil War.
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