A SCHOLARLY BOOK REPOSITORY
Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism.
The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements.
Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK.
It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.
Case studies from manuscripts illuminating the creation dating from the eleventh to the fourteenth century (Junius 11/The Cædmon Manuscript, Roda Bible & Ripoll Bible, Bible moralisées, Hamburg Bible, Holkhalm Bible) reveal self-reflective moments; where medieval artists relate artistic invention and theological debates about creation. This book traces the artists’ thinking in their own work and then contextualizes those visual cues within the context of philosophical arguments about the creation of the world. It also considers how Western medieval artists, in inventing original illuminations and experimenting with new representational modes, suggest potential analogies between their own work, God’s acts of creation, and nature’s generative force.
Harold James examines the vulnerability and fragility of processes of globalization, both historically and in the present. This book applies lessons from past breakdowns of globalization—above all in the Great Depression—to show how financial crises provoke backlashes against global integration: against the mobility of capital or goods, but also against flows of migration. By a parallel examination of the financial panics of 1929 and 1931 as well as that of 2008, he shows how banking and monetary collapses suddenly and radically alter the rules of engagement for every other type of economic activity.
Increased calls for state action in countercyclical fiscal policy bring demands for trade protection. In the open economy of the twenty-first century, such calls are only viable in very large states—probably only in the United States and China. By contrast, in smaller countries demand trickles out of the national container, creating jobs in other countries. The international community is thus paralyzed, and international institutions are challenged by conflicts of interest. The book shows the looming psychological and material consequences of an interconnected world for people and the institutions they create.
Working mostly alone, almost single-handedly writing 250,000 lines of computer code, Steve Grand produced Creatures®, a revolutionary computer game that allowed players to create living beings complete with brains, genes, and hormonal systems—creatures that would live and breathe and breed in real time on an ordinary desktop computer. Enormously successful, the game inevitably raises the question: What is artificial life? And in this book—a chance for the devoted fan and the simply curious onlooker to see the world from the perspective of an original philosopher-engineer and intellectual maverick—Steve Grand proposes an answer.
From the composition of the brains and bodies of artificial life forms to the philosophical guidelines and computational frameworks that define them, Creation plumbs the practical, social, and ethical aspects and implications of the state of the art. But more than that, the book gives readers access to the insights Grand acquired in writing Creatures—insights that yield a view of the world that is surprisingly antireductionist, antimaterialist, and (to a degree) antimechanistic, a view that sees matter, life, mind, and society as simply different levels of the same thing. Such a hierarchy, Grand suggests, can be mirrored by an equivalent one that exists inside a parallel universe called cyberspace.
Analyzing the development of a Swedish American identity
The Creation of an Ethnic Identity: Being Swedish American in the Augustana Synod, 1860–1917 analyzes how Swedish American identity was constructed, maintained, and changed in the late nineteenth and early twentieth centuries. The Augustana Synod, the largest religious-based organization created by Swedish immigrants in the United States, played an important role in establishing what it meant to be Swedish American.
In this study, author Dag Blanck poses three fundamental questions: How did an ethnic identity develop in the Augustana Synod? What was that identity? Why was an ethnic identity formed? Based on primary sources formerly unknown or neglected, The Creation of an Ethnic Identity examines the Lutheran Augustana Synod, Augustana College, and the Augustana Book Concern to provide insights into how ethnic identity is constructed within a major religious body, a central educational institution, and a major publishing house.
Starting from the concept of ethnicity as something created or invented, Blanck goes on to explore how it was possible for a white European immigrant group like the Swedes to use its ethnicity as a tool of integration into American society. The nature of their ethnicity, says Blanck, was both determined by their cultural origins and also the values and nature of American society as they perceived it. Becoming Swedish American was also a way of becoming American.
The volume, which is augmented by illustrations, integrates the most critical scholarship on immigration and ethnicity over the past half century and provides a strong argument about how ethnicity is shaped over time within an immigrant group.
Our early ancestors lived in small groups and worked actively to preserve social equality. As they created larger societies, however, inequality rose, and by 2500 bce truly egalitarian societies were on the wane. In The Creation of Inequality, Kent Flannery and Joyce Marcus demonstrate that this development was not simply the result of population increase, food surplus, or the accumulation of valuables. Instead, inequality resulted from conscious manipulation of the unique social logic that lies at the core of every human group.
A few societies allowed talented and ambitious individuals to rise in prestige while still preventing them from becoming a hereditary elite. But many others made high rank hereditary, by manipulating debts, genealogies, and sacred lore. At certain moments in history, intense competition among leaders of high rank gave rise to despotic kingdoms and empires in the Near East, Egypt, Africa, Mexico, Peru, and the Pacific.
Drawing on their vast knowledge of both living and prehistoric social groups, Flannery and Marcus describe the changes in logic that create larger and more hierarchical societies, and they argue persuasively that many kinds of inequality can be overcome by reversing these changes, rather than by violence.
The story of jazz is more than a history of the music. The racial and cultural dynamics of American cities created the music, life, and business that was jazz.
Burton W. Peretti's classic study charts the life of jazz culture from its origins in the jook joints of sharecroppers and the streets and dance halls of 1890s New Orleans to the eve of bebop and World War II. As Perett shows, jazz was the epic story of players who transitioned from childhood spasm bands to Carnegie Hall and worldwide touring and fame. It became the music of the Twenties, a decade of Prohibition, of adolescent discontent, of Harlem pride, and of Americans hoping to preserve cultural traditions in an urban, commercial age. Finally, jazz was where black and white musicians performed together, as uneasy partners, in the big bands of Artie Shaw and Benny Goodman.
Drawing on archives and the firsthand testimony of more than seventy musicians and singers (among them Benny Carter, Bud Freeman, Kid Ory, and Mary Lou Williams), The Creation of Jazz offers a comprehensive analysis of the role of early jazz in American social history.
Nikolai Gogol, Russia’s greatest comic writer, is a literary enigma. His masterworks—“The Nose,” “The Overcoat,” The Inspector General, Dead Souls—have attracted contradictory labels over the years, even as the originality of his achievement continues to defy exact explanation.
Donald Fanger begins by considering why this should be so, and goes onto survey what Gogol created, step by step: an extraordinary body of writing, a model for the writer in Russian society, a textual identity that eclipses his scanty biography, and a kind of fiction unique in its time.
Drawing on a wealth of contemporary sources, as well as on everything Gogol wrote, including journal articles, letters, drafts, and variants, Fanger explains Gogol’s eccentric genius and makes clear how it opened the way to the great age of Russian fiction. The method is an innovative mixture of literary history and literary sociology with textual criticism and structural interrogation. What emerges is not only a framework for understanding Gogol’s writing as a whole, but fresh and original interpretation of individual works.
A concluding section, “The Surviving Presence,” probes the fundamental nature of Gogol’s creation to explain its astonishing vitality. In the process a major contribution is made to our understanding of comedy, irony, and satire, and ultimately to the theory of fiction itself.
David Healy follows his widely praised study, The Antidepressant Era, with an even more ambitious and dramatic story: the discovery and development of antipsychotic medication. Healy argues that the discovery of chlorpromazine (more generally known as Thorazine) is as significant in the history of medicine as the discovery of penicillin, reminding readers of the worldwide prevalence of insanity within living memory.
But Healy tells not of the triumph of science but of a stream of fruitful accidents, of technological discovery leading neuroscientific research, of fierce professional competition and the backlash of the antipsychiatry movement of the 1960s. A chemical treatment was developed for one purpose, and as long as some theoretical rationale could be found, doctors administered it to the insane patients in their care to see if it would help. Sometimes it did, dramatically. Why these treatments worked, Healy argues provocatively, was, and often still is, a mystery. Nonetheless, such discoveries made and unmade academic reputations and inspired intense politicking for the Nobel Prize.
Once pharmaceutical companies recognized the commercial potential of antipsychotic medications, financial as well as clinical pressures drove the development of ever more aggressively marketed medications. With verve and immense learning, Healy tells a story with surprising implications in a book that will become the leading scholarly work on its compelling subject.
Drawing on the lab notes, published papers, and unpublished manuscripts of Heinrich Hertz, Buchwald recreates Hertz's 1887 invention of a device that produced electromagnetic waves in wires. The invention itself was serendipitous and the device was quickly transformed, but Hertz's early experiments led to major innovations in electrodynamics. Buchwald explores the difficulty Hertz had in reconciling the theories of other physicists, including Hermann von Helmholtz and James Clerk Maxwell, and he considers the complex and often problematic connections between theory and experiment.
In this first detailed scientific biography of Hertz and his scientific community, Buchwald demonstrates that tacit knowledge can be recovered so that we can begin to identify the unspoken rules that govern scientific practice.
Sacrifice—ranging from the sacrifice of virgins to circumcision to giving up what is most valued—is essential to all religions. Could there be a natural, even biological, reason for these practices? Something that might explain why religions of so many different cultures share so many rituals and concepts? In this extraordinary book, one of the world’s leading authorities on ancient religions explores the possibility of natural religion—a religious sense and practice naturally proceeding from biological imperatives.
Because they lack later refinements, the earliest religions from the Near East, Israel, Greece, and Rome may tell us a great deal about the basic properties and dynamics of religion, and it is to these cultures that Walter Burkert looks for answers. His book takes us on an intellectual adventure that begins some 5,000 years ago and plunges us into a fascinating world of divine signs and omens, offerings and sacrifices, rituals and beliefs unmitigated by modern science and sophistication. Tracing parallels between animal behavior and human religious activity, Burkert suggests natural foundations for sacrifices and rituals of escape, for the concept of guilt and punishment, for the practice of gift exchange and the notion of a cosmic hierarchy, and for the development of a system of signs for negotiating with an uncertain environment. Again and again, he returns to the present to remind us that, for all our worldliness, we are not so far removed from the first Homo religiosus.
A breathtaking journey, as entertaining as it is provocative, Creation of the Sacred brings rich new insight on religious thought past and present and raises serious questions about the ultimate reasons for, and the ultimate meaning of, human religiousness.
In light of the embattled status of evolutionary theory, particularly as "intelligent design" makes headway against Darwinism in the schools and in the courts, this now classic account of the roots of creationism assumes new relevance. Expanded and updated to account for the appeal of intelligent design and the global spread of creationism, The Creationists offers a thorough, clear, and balanced overview of the arguments and figures at the heart of the debate.
Praised by both creationists and evolutionists for its comprehensiveness, the book meticulously traces the dramatic shift among Christian fundamentalists from acceptance of the earth's antiquity to the insistence of present-day scientific creationists that most fossils date back to Noah's flood and its aftermath. Focusing especially on the rise of this "flood geology," Ronald L. Numbers chronicles the remarkable resurgence of antievolutionism since the 1960s, as well as the creationist movement's tangled religious roots in the theologies of late-nineteenth- and early-twentieth-century Baptists, Presbyterians, Lutherans, and Adventists, among others. His book offers valuable insight into the origins of various "creation science" think tanks and the people behind them. It also goes a long way toward explaining how creationism, until recently viewed as a "peculiarly American" phenomenon, has quietly but dynamically spread internationally--and found its expression outside Christianity in Judaism and Islam.
Creative Alaska profiles the award winners from 2004 to 2013 in three categories: Distinguished Artists, Fellowships, and Project Awards. Richly illustrated accounts of each of the artists and their work illuminate the challenges and opportunities of the artistic life in Alaska and the powerful impact of the Rasmuson Foundation’s support.
This book is based on years of ethnographic and textual-archival research in the Himalayan regions of southwest China, where the contemporary Qiang group resides. Drawing on a diverse range of official and local political discourses and previously unstudied literary, historiographical, and cinematic works, Yanshuo Zhang illuminates how the Qiang have carved out spaces of “creative belonging” within the parameters of multiculturalism in contemporary China. Rooted in ethnographic and textual-archival research, the book presents original materials produced by Qiang indigenous writers, scholars, artists, grassroots village cultural activists, and entrepreneurs at both the local and the global levels. Creative Belonging invites readers to rethink ethnicity and national belonging in China by centering minority groups’ efforts to expand the meanings and implications of “Chinese culture.”
What conception does a modern artist or critic have of contemporary art activity? How do modern artists react to their environment and cultural inheritance? And what general norms of achievement can we think of in the highly heterogeneous art scene of today? In Creative Circuit, K. G. Subramanyan, one of India's most celebrated artists, draws upon his considerable experience as a practicing artist and theoretician to engage with these concerns from a modern Indian perspective.
Through a series of five lectures, Subramanyan critically examines key concepts such as modernity, eclecticism, and nostalgia, which have become integral to contemporary art discourse. He provocatively questions the perceptions, illusions, and emotional motivations driving artistic expression in today's heterogeneous art scene, prompting readers to reconsider established norms of achievement in the context of evolving artistic practices. With over one hundred color illustrations complementing Subramanyan's insightful discourse, Creative Circuit offers a visually engaging exploration of the interplay between tradition and innovation in contemporary art.
Subramanyan played a pivotal role in shaping India’s artistic identity after Independence. Mani-da, as he was fondly called, seamlessly blended elements of modernism with folk expression in his works, spanning paintings, murals, sculptures, prints, set designs, and toys. Beyond his visual artistry, his writings have laid a solid foundation for understanding the demands of art on the individual. In the year of his centenary, Seagull is proud to publish his writings in special new editions.
Much feminist scholarship has viewed Catholicism and Shi'i Islam as two religious traditions that, historically, have greeted feminist claims with skepticism or outright hostility. Creative Conformity demonstrates how certain liberal secular assumptions about these religious traditions are only partly correct and, more importantly, misleading. In this highly original study, Elizabeth Bucar compares the feminist politics of eleven US Catholic and Iranian Shi'i women and explores how these women contest and affirm clerical mandates in order to expand their roles within their religious communities and national politics.
Using scriptural analysis and personal interviews, Creative Conformity demonstrates how women contribute to the production of ethical knowledge within both religious communities in order to expand what counts as feminist action, and to explain how religious authority creates an unintended diversity of moral belief and action. Bucar finds that the practices of Catholic and Shi‘a women are not only determined by but also contribute to the ethical and political landscape in their respective religious communities. She challenges the orthodoxies of liberal feminist politics and, ultimately, strengthens feminism as a scholarly endeavor.
"It'll be a great place if they ever finish it," O. Henry wrote about New York City. This laconic remark captures the relentlessly transitory character of New York, and it points toward Max Page's synthetic perspective. Against the prevailing motif of a naturally expanding metropolis, Page argues that the early-twentieth-century city was dominated by the politics of destruction and rebuilding that became the hallmark of modern urbanism.
The oxymoron "creative destruction" suggests the tensions that are at the heart of urban life: between stability and change, between particular places and undifferentiated spaces, between market forces and planning controls, and between the "natural" and "unnatural" in city growth. Page investigates these cultural counterweights through case studies of Manhattan's development, with depictions ranging from private real estate development along Fifth Avenue to Jacob Riis's slum clearance efforts on the Lower East Side, from the elimination of street trees to the efforts to save City Hall from demolition.
In these examples some New Yorkers celebrate planning by destruction or marvel at the domestication of the natural environment, while others decry the devastation of their homes and lament the passing of the city's architectural heritage. A central question in each case is the role of the past in the shaping of collective memory—which buildings are preserved? which trees are cut down? which fragments are enshrined in museums? Contrary to the popular sense of New York as an ahistorical city, the past—as recalled by powerful citizens—was, in fact, at the heart of defining how the city would be built.
Beautifully illustrated and written in clear, engaging prose, The Creative Destruction of Manhattan offers a new way of viewing the development of the American city.
"An excellent, multifaceted analysis of the process of urban development-not the inevitability of development but the choices individuals, organizations, and developers made that transformed Manhattan. The politics of place was, Max Page convincingly argues, an ongoing battle to define and thereby control the evolving shape of the city."—David Schuyler, author of Apostle of Taste: Andrew Jackson Downing 1815-1852
"Max Page transcends the usual dichotomy between those who glorify destruction for the sake of change and those who would avoid both at all cost. The sizeable borderland between architecture and preservation reveals new dimensions about science and history, innovation and memory, the cities that have been, and those yet to come."—Gwendolyn Wright, author of The Politics of Design in French Colonial Urbanism
"A sober, humane explanation of how and why New York City became a place of continuous rebuilding. . . . For real or armchair New Yorkers, the whole package is a treat."—Kirkus Reviews
This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred.
To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms.
To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic.
As in sports, business, and other sectors, the top 1% of artists have disproportionately influenced public expectations for what it means to be successful. In Creative Infrastructures, Linda Essig takes an unconventional approach and looks at the quotidian artist—and at what they do, not what they make. All too often, artists who are attentive to the business side of their creative practice are accused of selling out. But for many working artists, that attention to business is what enables them not just to survive but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. Through illustrative case studies from culturally and racially diverse communities, Essig examines the relationships between art, innovation, entrepreneurship, and money while offering a theory for arts entrepreneurship that places more emphasis on means than ends.
Originally released in 1980, Lucia Capacchione’s The Creative Journal has become a classic in the fields of art therapy, memoir and creative writing, art journaling, and creativity development. Using more than fifty prompts and vibrantly illustrated examples, Capacchione guides readers through drawing and writing exercises to release feelings, explore dreams, and solve problems creatively. Topics include emotional expression, healing the past, exploring relationships, self-inventory, health, life goals, and more. The Creative Journal introduced the world to Capacchione’s groundbreaking technique of writing with the nondominant hand for brain balancing, finding innate wisdom, and developing creative potential.
This thirty-fifth anniversary edition includes a new introduction and an appendix listing the many venues that have adopted Capacchione’s methods, including public schools, recovery programs, illness support groups, spiritual retreats, and prisons. The Creative Journal has become a mainstay text for college courses in psychology, art therapy, and creative writing. It has proven useful for journal keepers, counselors, and teachers. Through doodles, scribbles, written inner dialogues, and letters, people of all ages have discovered vast inner resources.
Interviewees include David Byrne, Cee Lo Green, George Clinton, De La Soul, DJ Premier, DJ Qbert, Eclectic Method, El-P, Girl Talk, Matmos, Mix Master Mike, Negativland, Public Enemy, RZA, Clyde Stubblefield, T.S. Monk.
Drawing on his intimate engagement with political conflict in Latin America and the Balkans, Ostertag identifies an art of "insurgent politics" that struggles to expand the parameters of the physical and social world. He also discusses his innovative collaborations with major modern performers, filmmakers, and artists around the world. Part memoir, part journalism, and part aesthetic manifesto, Creative Life is a dazzling set of writings from a musical artist who has worked on the cutting edge of new music for thirty years.
Five of Coleridge's major poems are given fresh scrutiny in this arresting study. One of its unusual features is the attention given the Preface to “Kubla Khan,” the Gloss to The Ancient Mariner, and other prose accompaniments to the poems usually dismissed as extraneous. Devices such as these, the author argues, are strategically employed by Coleridge in an effort to engage the reader in a fully imaginative response.
Kathleen Wheeler elucidates the texts in terms of aesthetic experience and also in terms of the philosophical principles that inform them, showing how Coleridge's theories of mind and imagination function within the poems and shape their design. A subtle and gifted reader of poetry, she enriches our understanding of poems we thought we knew well, and provides insights along the way into the creative process.
Great music arouses wonder: how did the composer create such an original work of art? What was the artist's inspiration, and how did that idea become a reality? Cultural products inevitably arise from a context, a submerged landscape that is often not easily accessible. To bring such things to light, studies of the creative process find their cutting edge by probing beyond the surface, opening new perspectives on the apparently familiar.
The voice of a renowned professor of philosophy in Poland, who is also a Roman Catholic priest, is introduced to the United States in this collection of his provocative essays on the interplay of science and religion. Michael Heller progressively outlines systematic steps that might lead to a peaceful coexistence of these traditionally separate fields of study. Some essays have their roots in the author's work in physics and cosmology, while others present his theories on the language of God, creation, and transcendence, inspired by his work in the applications of so-called noncommutative geometry, an emerging field of study.
- Part one deals with methodology, evaluate the theological interpretation of scientific theories, and proposes a program for a "theology of science."
- Part two looks at the interaction of science and religion from a historical perspective. Topics include the evolution of ideas connected with the place of man in the Universe and the evolution of matter, among others.
- Part three concentrates on the "creation and science" quandary, including the big bang theory, the role of probability and chance in science, and their impact on theological questions.
- Part four looks for vestiges of transcendence in contemporary science.
Skeptical of the current euphoria surrounding the commercialization of culture, a distinguished group of contributors apply a comparative and historical perspective to probe how creative works have affected the global economy. Drawing on lessons from urban planning, art history, and cultural spectacles alike, Creative Urban Milieus will change the way we think about the symbiotic relationship between cities and innovation.
Beginning with “The Writer’s Wonderland—Or: A Warning” and ending with “You’ve Published a Book—Now What?” The Creative Writer’s Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally’s guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life.
McNally has earned the right to dispense advice on this subject. He has published three novels, two collections of short fiction, and hundreds of individual stories and essays. He has edited six anthologies and worked with editors at university presses, commercial houses, and small presses. He has earned three degrees, including an MFA from the Iowa Writers’ Workshop, and taught writing to thousands of students at nine different universities. But he has received far more rejections than acceptances, has endured years of underpaid adjunct work, and is presently hard at work on a novel for which he has no guarantee of publication. In other words, he’s been at the writing game long enough to rack up plenty of the highs and lows that translate into an invaluable guide for anyone who wants to become a writer or anyone who is already a writer but doesn’t know how to take the next step toward the writing life.
In the sections The Decision to Become a Writer, Education and the Writer, Getting Published, Publicity, Employment for Writers, and The Writer’s Life, McNally wrestles with writing degrees and graduate programs, the nuts and bolts of agents and query letters and critics, book signings and other ways to promote your book, alcohol and other home remedies, and jobs for writers from adjunct to tenure-track. Chapters such as “What Have You Ever Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive Sport,” “Seven Types of MLA Interview Committees,” “Money and the Writer,” and the all-important “Talking about Writing vs. Writing” cover a vast range of writerly topics from learning your craft to making a living at it. McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures, The Creative Writer’s Survival Guide is a snarky, truthful, and immensely helpful map to being a writer in today’s complex world.
Drawing primarily from the field of composition studies—a discipline rich with a wide range of established pedagogies—the contributors in this volume build on previous models to present fresh and inventive methods for the teaching of creative writing. Each chapter offers both a theoretical and a historical background for its respective pedagogical ideas, as well as practical applications for use in the classroom. This myriad of methods can be used either as a supplement to the customary workshop model or as stand-alone roadmaps to engage and reinvigorate the creative process for both students and teachers alike.
A fresh and inspiring collection of teaching methods, Creative Writing Pedagogies for the Twenty-First Century combines both conventional and cutting-edge techniques to expand the pedagogical possibilities in creative writing studies.
By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
This book also investigates the impact of managerialism, marketization, and globalization on university cultures, asking what critical cultural scholarship can do in such increasingly adversarial conditions. Experiments in Asian universities are emphasized as exemplary of what can or could be achieved in other contexts of globalized university policy.
Contributors. Tony Bennett, Stephen Ching-Kiu Chan, Kuan-Hsing Chen, Douglas Crimp, Dai Jinhua, John Nguyet Erni, Mette Hjort, Josephine Ho, Koichi Iwabuchi, Meaghan Morris, Tejaswini Niranjana, Wang Xiaoming, Audrey Yue
This book also investigates the impact of managerialism, marketization, and globalization on university cultures, asking what critical cultural scholarship can do in such increasingly adversarial conditions. Experiments in Asian universities are emphasized as exemplary of what can or could be achieved in other contexts of globalized university policy.
Contributors. Tony Bennett, Stephen Ching-Kiu Chan, Kuan-Hsing Chen, Douglas Crimp, Dai Jinhua, John Nguyet Erni, Mette Hjort, Josephine Ho, Koichi Iwabuchi, Meaghan Morris, Tejaswini Niranjana, Wang Xiaoming, Audrey Yue
“A brilliant travel guide to the coming world of AI.”
—Jeanette Winterson
What does it mean to be creative? Can creativity be trained? Is it uniquely human, or could AI be considered creative?
Mathematical genius and exuberant polymath Marcus du Sautoy plunges us into the world of artificial intelligence and algorithmic learning in this essential guide to the future of creativity. He considers the role of pattern and imitation in the creative process and sets out to investigate the programs and programmers—from Deep Mind and the Flow Machine to Botnik and WHIM—who are seeking to rival or surpass human innovation in gaming, music, art, and language. A thrilling tour of the landscape of invention, The Creativity Code explores the new face of creativity and the mysteries of the human code.
“As machines outsmart us in ever more domains, we can at least comfort ourselves that one area will remain sacrosanct and uncomputable: human creativity. Or can we?…In his fascinating exploration of the nature of creativity, Marcus du Sautoy questions many of those assumptions.”
—Financial Times
“Fascinating…If all the experiences, hopes, dreams, visions, lusts, loves, and hatreds that shape the human imagination amount to nothing more than a ‘code,’ then sooner or later a machine will crack it. Indeed, du Sautoy assembles an eclectic array of evidence to show how that’s happening even now.”
—The Times
“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.
Creativity has become a buzzword across all disciplines in education, from early years through to higher education. Although the meaning of creativity might depend on its cultural context, it is impossible to ignore the applicability and relevance of creativity as an educational tool, philosophical framework, and pedagogical approach.
This collection explores the case studies of ground-breaking work undertaken internationally to support and develop learners with, and for, creativity. The chapters are based on empirical research, which provides the scholarly framework for reconceptualizing creativity in the country-specific context of each study. Each case study is supplemented by critical, reflective, and analytical responses from contributors from different countries, which provide a dialogue for educators into how methods and approaches from a certain context can be transferred, translated, and contextually mediated for different environments.
Creativity in Education thus provides practical insights for application in a wide range of educational settings, as well as philosophical approaches to teacher education, leadership for learning, and creativity as a universal phenomenon.
Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative character of human action. This model encompasses the other two, allowing for a more comprehensive theory of action. Joas elaborates some implications of his model for theories of social movements and social change and for the status of action theory in sociology in the face of competition from theories advanced by Luhmann and Habermas.
The problem of action is of crucial importance in both sociology and philosophy, and this book—already widely debated in Germany—will add fresh impetus to the lively discussions current in the English-speaking world.
In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual innovation. Wilf focuses a keen eye on how our obsession with ceaseless innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation actually is. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.
The organization of The Creativity Question is unique: it illustrates the various approaches and basic assumptions underlying studies of creativity throughout the course of history up to the present time. The main body of selections appears under the categories of descriptions, attempts at explanation, and alternate approaches. As specific orientations to creativity can be traced to particular initiating thinkers and investigators, there is a special chapter on seminal accounts containing selections from the works of Plato, Aristotle, Kant, Galton, and Freud. Another chapter includes recent illustrations of special types of exploratory trends: creativity of women, brain research, synectics, extrasensory perception, behaviorism, and creativity computer programming. This organization highlights the tension between strictly scientific accounts and alternative approaches offering new ways of understanding. The editors have provided for the books as a whole and for each chapter explanation and discussion of the basic issues raised by the various approaches to creativity.
In four parts, Creators in the Academic Library: Collections and Spaces explores how academic libraries can build collections, spaces, and communities that serve creators.
- Tailoring Collections for Creators
- Making in the Academic Library
- Creating Experiences in the Library
- Cultivating Creator Communities
In four parts, Creators in the Academic Library: Instruction and Outreach explores how to teach specifically for creator research, motivate learning, and deepen students’ understanding of their own practice.
- Technology, Tools, and Techniques for Creation
- Inspiring Creativity through Research
- Creator’s Unique Information Needs
- Grounding Creation in Research
"Walter Raleigh . . . was one of those Elizabethan all-rounders who still seem staggeringly larger than life. . . . Mr. Nicholl's cogent reconstruction of the journey uses Raleigh's own account, 'The Discoverie of Guiana'—part truth, part advertising, part rhapsody—and much well-found ancillary material."—Anthony Bailey, New York Times
"Like The Reckoning, his brilliant account of the murder of Christopher Marlowe, Nicholl's new book might be called an exercise in historical conjuring. The Creature in the Map is an effort not only to analyse but also to call into presence the lived experience of the voyage Raleigh undertook in 1595 to the Orinoco Delta in what is now Venezuela."—Stephen Greenblatt, Times Literary Supplement
"Charles Nicholl belongs to an elite company, that of historians who know how to make research into arcane matters and distant times as engrossing as In Cold Blood or All the President's Men."—Michael Dirda, Washington Post
A kaleidoscopic literary exploration of extinction and conservation, inspired by the latest scientific research
Creature Needs is a polyvocal call to arms about animal extinction and habitat loss that harnesses the power of literature and scientific research to move us, and stir our hearts and minds, toward action and change. A collection of new literary works by prominent writers paired with excerpts from recent scientific articles that inspired and informed them, this innovative anthology engages the collaborative, cross-disciplinary spirit and energy that is necessary to address the impact of humans on all other animals on our planet.
Divided into six sections representing the basic needs for survival—air, food, water, shelter, room to move, and each other—the stories and poems in Creature Needs vividly portray how these essential conditions are under assault through climate change, habitat loss, plastic and industrial pollution, and human intervention in natural landscapes. As the dominant species on Earth, humans not only control access to survival resources but we also overconsume and harm them. Rather than surrender to despair, the writers here believe that we have the power, if we choose, to change course and protect these resources.
A collaboration with the nonprofit organization Creature Conserve, Creature Needs is a path-setting fusion of literary art and scientific research that deepens our understanding of the interdependence between life and habitat, illuminating the stark choices we face to conserve resources and ensure that the basic needs of all species are met.
Contributors: Kazim Ali, Mary-Kim Arnold, Ramona Ausubel, David Baker, Charles Baxter, Aimee Bender, Kimberly Blaeser, Oni Buchanan, Tina Cane, Ching-In Chen, Mónica de la Torre, Tongo Eisen-Martin, Thalia Field, Ben Goldfarb, Annie Hartnett, Sean Hill, Hester Kaplan, Donika Kelly, Robin McLean, Miranda Mellis, Rajiv Mohabir, Kyoko Mori, David Naimon, Craig Santos Perez, Beth Piatote, Rena Priest, Alberto Ríos, Eléna Rivera, Sofia Samatar, Sharma Shields, Eleni Sikelianos, Maggie Smith, Juliana Spahr, Tim Sutton, Jodie Noel Vinson, Asiya Wadud, Claire Wahmanholm, Marco Wilkinson, Jane Wong.
The work in Creatures is centered on the imaginative and playful idea of the Dabloids, foot-shaped creatures of all sizes and colors who emerge magically from the Dablus, a sausage-like object that appears one misty morning in the fields of a collective farm. Tishkov’s drawings, paintings, and sculptures recount the history of the Dablus and the Dabloids. These mystical creatures are at once pets and gods, beings immensely wise and yet foolish. They are surreal manifestations of the artistic consciousness even as they are symbols of human isolation. In this sense, Tishkov’s roots in surrealism are charged with humorous social commentary often reminiscent of Hogarth, Red Grooms, and Robert Crumb.
Tishkov explores other mythological and absurdist themes in a series of elephant watercolors in which people live within an elephant trunk. The book also features a translation of the text of Tishkov’s play "Dabloids—A Fantasy," as well as brief essays that provide an introduction to the artist and his work, his mythology, and his roots in Russian folk culture.
Creatures introduces a major contemporary Russian artist to the western world. It should delight all who enter its world and should expand the horizons of all who delight in its artistic merits.
These are fishing stories, told as such stories are meant to be: simple, often coarse, and tinged with the elemental beauty of the sea. They reflect rugged lives lived on the edge of the ocean’s borders, where grief and grace ride the same waves. Rosemary McGuire, a fisherman herself, captures the essential humanity at the heart of each tale. No one comes through unscathed, but all retain a sense of hope and belief in earthly miracles, however humble.
A dazzling debut, The Creatures at the Absolute Bottom of the Sea will leave readers with a sense of the fragility and beauty inherent in eroded lives spent in proximity to danger.
From flying squirrels on high wooded plateaus to hanging gardens in redrock canyons, the Intermountain West is home to some of the world's rarest and most fascinating animals and plants. Creatures of Habitat details many unique but little-known talents of this region's strange and wonderful wild inhabitants and descibes their connections with native environments. For example, readers will learn about the pronghorn antelope's supercharged cardiovascular system, a brine shrimp-powered shorebird that each year flies nonstop from the Great Salt Lake to Central Argentina, and a rare mustard plant recently discovered on Mount Ogden. Emphasizing how increasing loss and degradation of habitat hinders native species' survival, Mark Gerard Hengesbaugh discusses what is happening to wildlife and wild places and what is being done about it.
Well illustrated, this book has habitat maps, pen-and-ink illustrations, and fifty photos of wildlife and wild places selected by photo editor Dan Miller. Also included are guides to wildlife viewing and lists of Utah species, including those considered sensitive, threatened, or endangered.
Often experienced as universal and incorporeal, music seems an innocent art form. The air, the very medium by which music constitutes itself, shares with music a claim to invisibility. In Creatures of the Air, J. Q. Davies interrogates these claims, tracing the history of music’s elemental media system in nineteenth-century Atlantic worlds. He posits that air is a poetic domain, and music is an art of that domain.
From West Central African ngombi harps to the European J. S. Bach revival, music expressed elemental truths in the nineteenth century. Creatures of the Air tells these truths through stories about suffocation and breathing, architecture and environmental design, climate strife, and racial turmoil. Contributing to elemental media studies, the energy humanities, and colonial histories, Davies shows how music, no longer just an innocent luxury, is implicated in the struggle for control over air as a precious natural resource. What emerges is a complex political ecology of the global nineteenth century and beyond.
This book argues that the current financial turmoil signals a crisis in globalisation that will directly challenge the free market economic model.
Graham Turner shows that the housing bubbles in the West were deliberately created to mask the damage inflicted by companies shifting production abroad in an attempt to boost profits. As these bubbles burst, economic growth in many developed countries will inevitably tumble. The Japanese crisis of the 1990s shows that banks and governments may struggle to contain the fallout. The problem has not been limited to the US, UK and Europe: housing bubbles have become endemic across wide swathes of emerging market economies. As the West slides, these countries will see an implosion of their credit bubbles too, shaking their faith in the free market.
Turner is an experienced and successful economic forecaster, whose opinions are sought by large international banks and top financial journalists. Drawing from his first hand experience of the Japanese property crash of the 1990s, he presents his analysis in a clear and persuasive style, showing that the end of housing market growth spells disaster for neoliberal globalisation.
Credit economies constituted "economies of regard" in which reputation depended on embodied performances of credibility. Crowston explores the role of fashionable appearances and sexual desire in leveraging credit and reconstructs women's vigorous participation in its gray markets. The scandalous relationship between Queen Marie Antoinette and fashion merchant Rose Bertin epitomizes the vertical loyalties and deep social divides of the credit regime and its increasingly urgent political stakes.
Wherry, Seefeldt, and Alvarez tell the story of the Mission Asset Fund, a San Francisco-based organization that assists mostly low- and moderate-income people of color with building credit. The Mission Asset Fund facilitates zero-interest lending circles, which have been practiced by generations of immigrants, but have gone largely unrecognized by mainstream financial institutions. Participants decide how the circles are run and how they will use their loans, and the organization reports their clients’ lending activity to credit bureaus. As the authors show, this system not only helps clients build credit, but also allows them to manage debt with dignity, have some say in the creation of financial products, and reaffirm their sense of social membership. The authors delve into the history of racial wealth inequality in the U.S. to show that for many black and Latino households, credit invisibility is not simply a matter of individual choices or inadequate financial education. Rather, financial marginalization is the result of historical policies that enabled predatory lending, discriminatory banking and housing practices, and the rollback of regulatory protections for first-time homeowners.
To rectify these inequalities, the authors propose common sense regulations to protect consumers from abuse alongside new initiatives that provide seed capital for every child, create affordable short-term loans, and ensure that financial institutions treat low- and moderate-income clients with equal respect. By situating the successes of the Mission Asset Fund in the larger history of credit and debt, Credit Where It’s Due shows how to prioritize financial citizenship for all.
Credulity tells the fascinating story of mesmerism’s spread from the plantations of the French Antilles to the textile factory cities of 1830s New England. As it proliferated along the Eastern seaboard, this occult movement attracted attention from Ralph Waldo Emerson’s circle and ignited the nineteenth-century equivalent of flame wars in the major newspapers. But mesmerism was not simply the last gasp of magic in modern times. Far from being magicians themselves, mesmerists claimed to provide the first rational means of manipulating the credulous human tendencies that had underwritten past superstitions. Now, rather than propping up the powers of oracles and false gods, these tendencies served modern ends such as labor supervision, education, and mediated communication. Neither an atavistic throwback nor a radical alternative, mesmerism was part and parcel of the modern. Credulity offers us a new way of understanding the place of enchantment in secularizing America.
This superb biography provides for the first time a candid look at the remarkable life of Walter Williams, the man who founded the world's first school of journalism and perhaps contributed more toward the promotion of professional journalism than any other person of his time.
Williams, the youngest of six children, was born in Boonville, Missouri, in 1864. Never an athletic child, he always had a love of books and of learning; yet, he scarcely had a high school education. He began his journalistic career as a printer's devil at seventy cents per week and eventually became editor and part- owner of a weekly in Columbia, Missouri. During his time as an editor, Williams became convinced that journalism would never reach its potential until its practitioners had the opportunity for university training in their field. After years of crusading, he established the first journalism school, on the University of Missouri campus. Later, he was chosen president of the University of Missouri, which he led with distinction during the Great Depression.
Williams was an unwavering advocate of high professional standards. His Journalist's Creed became one of the most widely circulated codes of professional ethics. Williams inspired the confidence of his fellow journalists, and he carried his message to nearly every country in which newspapers were published. Not only did he invent journalism education, he also created global organizations of journalists and spread the gospel of professionalism throughout the world. His death, in 1935, was mourned throughout the United States, and editorial tributes came from around the world. As one British editor succinctly put it, "Williams was not born to greatness. Neither was it thrust upon him. Literally, he achieved greatness."
Stiggins writes with firsthand knowledge of the tribes in the central southeast—the Alabamas, Natchez, Abekas, Uchees, and others. He tells of their origins, their towns and chiefs, and their way of life, he traces critical events leading to the Creek War—the battles of Burnt Corn and Fort Mims—and details the roles of the Indian leaders involved. In “Tecumseh and the Age of Prophecy,” he describes how the powerful influence of prophets, such as Josiah Francis and Jim Boy, who incited the Creeks to civil war as the confederacy split into war and peace factions. Stiggin’s account of William Weatherford’s controversial role in the Creek War has special value because Weatherford was Stiggins’s brother-in-law. His descriptions of religious and social aspects of the Creek lifeways make this work prime source material.
William Wyman’s notes and introduction put the Stiggins account into historical perspective and trace its circuitous route to publication. First issued in 1989, Creek Indian History has become an important primary document for the study of Native American history and culture.
The first edition of Halbert and Ball's Creek War was published in 1895, and a new edition containing an introductory essay, supplementary notes, a bibliography, and an index by Frank L. Owsley Jr., was published in 1969. This standard account of one of the most controversial wars in which Americans have fought is again available, with introductory materials and a bibliography revised to reflect the advances in scholarship since the 1969 edition. This facsimile reproduction of the 1895 original provides a full and sympathetic account of the Indians' point of view, from the earliest visit of the great Shawnee chief Tecumseh to the southern tribes in 1811, through the buildup of apprehension and hostilities leading to the fateful battles at Burnt Corn, Fort Mims, and Holy Ground.
In Creekside, dedicated archaeologist Meg Harrington guides her students in a race against time to protect the legacy of the past before bulldozers rip it to shreds.
The setting is a Kentucky pasture slated for development—the construction of the new Creekside subdivision. Once, that same beautiful stretch of land was home to three generations who experienced love, loss, and tragedy in their log cabin beside the creek. It was here during the late 18th century that Estelle Mullins struggled to build her home on the dangerous frontier.
In Meg’s 21st-century world of archaeology we read about excavation techniques, daily experiences at a dig, tight construction deadlines, the use of heavy equipment, report writing, artifact analysis, damage from looters and collectors, and the reality of site destruction in the path of modern development. The depiction of Estelle’s frontier life includes Kentucky’s early Euro-American settlement of the Cumberland Gap, encounters with Shawnee defending their land, Protestant fragmentation, the rise of religious fundamentalism, the immigrant stampede down the Ohio River, and the persistent issue of class-based land ownership.
The two partially interwoven story lines link artifact and place, ancestors and descendants, the present and the past, and inspire us to explore the personal connections between them all in fresh and vital ways.
The Creighton Century, 1907–2007 offers a selection of ten classic lectures on history from the first hundred years of the University of London’s prestigious Creighton Lecture series.
This volume offers a chance to revisit some of the great lectures of our time, including previously unpublished lectures by R. H. Tawney, Lucy Sutherland, Donald Coleman, Eric Hobsbawm, and Keith Thomas, published here with commentaries by Virginia Berridge, Justin Champion, Julian Hoppit, and Jinty Nelson, among others. This volume provides a fascinating insight into the development of the discipline of history over the twentieth and early twenty-first century, with lectures on the meaning of truth and modern mythologies, revealing some significant changes in approach and emphasis as well as some surprising continuities.
It is a maxim that both rings true in our contemporary world and pervades this tragicomic novel of anxiety and evil set amid the horrors of World War II. As a gay man living in a totalitarian, patriarchal society, noted Czech writer Ladislav Fuks identified with the tragic fate of his Jewish countrymen during the Holocaust. The Cremator arises from that shared experience. Fuks presents a grotesque, dystopian world in which a dutiful father, following the strict logic of his time, liberates the souls of his loved ones by destroying their bodies—first the dead, then the living. As we watch this very human character—a character who never ceases to believe that he is doing good—become possessed by an inhuman ideology, the evil that initially permeates the novel’s atmosphere concretizes in this familiar family man. A study of the totalitarian mindset with stunning resonance for today, The Cremator is a disturbing, powerful work of literary horror.
What do the trickster Rabbit, slave descendants, off-the-books economies, and French citizens have to do with each other? Plenty, says Katherine Browne in her anthropological investigation of the informal economy in the Caribbean island of Martinique. She begins with a question: Why, after more than three hundred years as colonial subjects of France, did the residents of Martinique opt in 1946 to integrate fully with France, the very nation that had enslaved their ancestors? The author suggests that the choice to decline sovereignty reflects the same clear-headed opportunism that defines successful, crafty, and illicit entrepreneurs who work off the books in Martinique today.
Browne draws on a decade of ethnographic fieldwork and interview data from all socioeconomic sectors to question the common understanding of informal economies as culture-free, survival strategies of the poor. Anchoring her own insights to longer historical and literary views, the author shows how adaptations of cunning have been reinforced since the days of plantation slavery. These adaptations occur, not in spite of French economic and political control, but rather because of it. Powered by the "essential tensions" of maintaining French and Creole identities, the practice of creole economics provides both assertion of and refuge from the difficulties of being dark-skinned and French.
This powerful ethnographic study shows how local economic meanings and plural identities help explain work off the books. Like creole language and music, creole economics expresses an irreducibly complex blend of historical, contemporary, and cultural influences.
During the colonial period in Guyana, the country’s coastal lands were worked by enslaved Africans and indentured Indians. In Creole Indigeneity, Shona N. Jackson investigates how their descendants, collectively called Creoles, have remade themselves as Guyana’s new natives, displacing indigenous peoples in the Caribbean through an extension of colonial attitudes and policies.
Looking particularly at the nation’s politically fraught decades from the 1950s to the present, Jackson explores aboriginal and Creole identities in Guyanese society. Through government documents, interviews, and political speeches, she reveals how Creoles, though unable to usurp the place of aboriginals as First Peoples in the New World, nonetheless managed to introduce a new, more socially viable definition of belonging, through labor. The very reason for bringing enslaved and indentured workers into Caribbean labor became the organizing principle for Creoles’ new identities.
Creoles linked true belonging, and so political and material right, to having performed modern labor on the land; labor thus became the basis for their subaltern, settler modes of indigeneity—a contradiction for belonging under postcoloniality that Jackson terms “Creole indigeneity.” In doing so, her work establishes a new and productive way of understanding the relationship between national power and identity in colonial, postcolonial, and anticolonial contexts.
In Creole Medievalism, Michelle Warren demonstrates that Bédier's relationship to this multicultural and economically peripheral colony motivates his nationalism in complex ways. Simultaneously proud of his French heritage and nostalgic for the island, Bédier defends French sovereignty based on an ambivalent resistance to his creole culture. Warren shows that in the early twentieth century, influential intellectuals from Réunion helped define the new genre of the "colonial novel," adopting a pro-colonial spirit that shaped both medieval and Francophone studies. Probing the work of a once famous but little understood cultural figure, Creole Medievalism illustrates how postcolonial France and Réunion continue to grapple with histories too varied to meet expectations of national unity.
Contributors. Étienne Balibar, Dominique Chancé, Pheng Cheah, Leo Ching, Liz Constable, Anne Donadey, Fatima El-Tayeb, Julin Everett, Édouard Glissant, Barnor Hesse, Ping-hui Liao, Françoise Lionnet, Walter Mignolo, Andrea Schwieger Hiepko, Shu-mei Shih
The contradance and quadrille, in their diverse forms, were the most popular, widespread, and important genres of creole caribbean music and dance in the nineteenth century. Throughout the region they constituted sites for interaction of musicians and musical elements of different racial, social, and ethnic origins, and they became crucibles for the evolution of genres like the Cuban danzón and son, the Dominican merengue, and the Haitian mereng.
Creolizing Contradance in the Caribbean is the first book to explore this phenomenon in detail and with a pan-regional perspective. Individual chapters by respected area experts discuss the Spanish, French, and English-speaking Caribbean. For each area they cover the musical and choreographic features, social dynamics, historical development and significance, and discuss them in relation to the broader Caribbean historical context. This groundbreaking text fills a significant gap in studies of Caribbean cultural history and of social dance.
Winner, 2022 Nicolás Cristóbal Guillén Batista Outstanding Book Award
Creolizing the Nation identifies the nation-form as a powerful resource for political struggles against colonialism, racism, and other manifestations of Western hegemony in the Global South even as it acknowledges the homogenizing effects of the politics of nationalism. Drawing on Caribbean, decolonial, and Latina feminist resources, Kris F. Sealey argues that creolization provides a rich theoretical ground for rethinking the nation and deploying its political and cultural apparatus to imagine more just, humane communities.
Analyzing the work of thinkers such as Édouard Glissant, Frantz Fanon, Gloria Anzaldúa, María Lugones, and Mariana Ortega, Sealey shows that a properly creolizing account of the nation provides an alternative imaginary out of which collective political life might be understood. Creolizing practices are always constitutive of anticolonial resistance, and their ongoing negotiations with power should be understood as everyday acts of sabotage. Sealey demonstrates that the conceptual frame of the nation is not fated to re-create colonial instantiations of nationalism but rather can support new possibilities for liberation and justice.
"A powerful ending that explains how the experience with the Barbary states compelled many Americans to look inward . . . with increasing doubts about the institution of slavery." —David W. Lesch, Middle East Journal
"Allison's incisive and informative account of the fledgling republic's encounter with the Muslim world is a revelation with a special pertinence to today's international scene." —Richard W. Bulliet, Journal of Interdisciplinary History
"This book should be widely read. . . . Allison's study provides a context for understanding more recent developments, such as America's tendency to demonize figures like Iran's Khumaini, Libya's Qaddafi, and Iraq's Saddam." —Richard M. Eaton, Eighteenth Century Studies
Muslims have been shaping the Americas and the Caribbean for more than five hundred years, yet this interplay is frequently overlooked or misconstrued. Brimming with revelations that synthesize area and ethnic studies, Crescent over Another Horizon presents a portrait of Islam’s unity as it evolved through plural formulations of identity, power, and belonging. Offering a Latino American perspective on a wider Islamic world, the editors overturn the conventional perception of Muslim communities in the New World, arguing that their characterization as “minorities” obscures the interplay of ethnicity and religion that continues to foster transnational ties.
Bringing together studies of Iberian colonists, enslaved Africans, indentured South Asians, migrant Arabs, and Latino and Latin American converts, the volume captures the power-laden processes at work in religious conversion or resistance. Throughout each analysis—spanning times of inquisition, conquest, repressive nationalism, and anti-terror security protocols—the authors offer innovative frameworks to probe the ways in which racialized Islam has facilitated the building of new national identities while fostering a double-edged marginalization. The subjects of the essays transition from imperialism (with studies of morisco converts to Christianity, West African slave uprisings, and Muslim and Hindu South Asian indentured laborers in Dutch Suriname) to the contemporary Muslim presence in Argentina, Brazil, Mexico, and Trinidad, completed by a timely examination of the United States, including Muslim communities in “Hispanicized” South Florida and the agency of Latina conversion. The result is a fresh perspective that opens new horizons for a vibrant range of fields.
Crete and James is a collection of letters exchanged by James A. Garfield and Lucretia Randolph Garfield during the mid-nineteenth century. Of the 1,200 or so letters written, the 300 included this work chronicle their courtship and marriage, and also discuss the Civil War, political affairs, and the details of daily life during the years 1853-1881. In them, we watch Crete grow from a shy girl into a self-confident woman who guides her husband in social and political matters. Through James’s flamboyant yet scholarly style, and Lucretia’s detailed, perceptive insights, we come to know them as though they were our close friends. Through their correspondence, the reader also meets the many people involved in their lives. Crete and James will be of great interest to those studying women’s history.
At a time when night-singing insects have slipped beyond our notice—indeed, are more likely to be heard as NatureSounds than in a backyard—John Himmelman seeks to reconnect us to creatures whose songs form a part of our own natural history.
On warm summer evenings, night-singing insects produce a whirring, chirping soundscape—a calming aural tapestry celebrated by poets and naturalists for millennia. But “cricket radio” is not broadcast for the easy-listening pleasure of humans. The nocturnal songs of insects are lures and warnings, full of risks and rewards for these tiny competitive performers. What moves crickets and katydids to sing, how they produce their distinctive sounds, how they hear the songs of others, and how they vary cadence, volume, and pitch to attract potential mates, warn off competitors, and evade predators is part of the engaging story Cricket Radio tells.
Himmelman’s narrative weaves together his personal experiences as an amateur naturalist in search of crickets and katydids with the stories of scientists who study these insects professionally. He also offers instructions for bringing a few of the little singers into our homes and gardens. We can, Himmelman suggests, be reawakened to these night songs that have meant so much to the human psyche. The online insect calls that accompany this colorfully illustrated narrative provide a bridge of sound to our past and to our vital connection with other species.
In Cries of Crisis, Robert B. Hackey analyzes media coverage, political speeches, films, and television shows to demonstrate the role that language and symbolism have played in framing the health care debate, shaping policy making, and influencing public perceptions of problems in the health care system. He demonstrates that the idea of crisis now means so many different things to so many different groups that it has ceased to have any shared meaning at all. He argues that the ceaseless talk of “crisis,” without a commonly accepted definition of that term, has actually impeded efforts to diagnose and treat the chronic problems plaguing the American health care system. Instead, he contends, reformers must embrace a new rhetorical strategy that links proposals to improve the system with deeply held American values like equality and fairness.
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