Following completion of the U.S. air base in Natal, Brazil, in 1942, U.S. airmen departing for North Africa during World War II communicated with Brazilian mechanics with a thumbs-up before starting their engines. This sign soon replaced the Brazilian tradition of touching the earlobe to indicate agreement, friendship, and all that was positive and good—yet another indication of the Americanization of Brazil under way during this period.
In this translation of O Imperialismo Sedutor, Antonio Pedro Tota considers both the Good Neighbor Policy and broader cultural influences to argue against simplistic theories of U.S. cultural imperialism and exploitation. He shows that Brazilians actively interpreted, negotiated, and reconfigured U.S. culture in a process of cultural recombination. The market, he argues, was far more important in determining the nature of this cultural exchange than state-directed propaganda efforts because Brazil already was primed to adopt and disseminate American culture within the framework of its own rapidly expanding market for mass culture. By examining the motives and strategies behind rising U.S. influence and its relationship to a simultaneous process of cultural and political centralization in Brazil, Tota shows that these processes were not contradictory, but rather mutually reinforcing.
The Seduction of Brazil brings greater sophistication to both Brazilian and American understanding of the forces at play during this period, and should appeal to historians as well as students of Latin America, culture, and communications.
In the midst of China’s wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this “treaty port” from the Western world.
A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of Shanghai’s urban landscape—foreign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.
In this compelling story about one of the nineteenth century's most famous Americans, Benjamin Reiss uses P. T. Barnum's Joice Heth hoax to examine the contours of race relations in the antebellum North. Barnum's first exhibit as a showman, Heth was an elderly enslaved woman who was said to be the 161-year-old former nurse of the infant George Washington. Seizing upon the novelty, the newly emerging commercial press turned her act--and especially her death--into one of the first media spectacles in American history.
In piecing together the fragmentary and conflicting evidence of the event, Reiss paints a picture of people looking at history, at the human body, at social class, at slavery, at performance, at death, and always--if obliquely--at themselves. At the same time, he reveals how deeply an obsession with race penetrated different facets of American life, from public memory to private fantasy. Concluding the book is a piece of historical detective work in which Reiss attempts to solve the puzzle of Heth's real identity before she met Barnum. His search yields a tantalizing connection between early mass culture and a slave's subtle mockery of her master.
How does the notion of colorblind equality fit with the social and economic realities of black Americans? Challenging the increasingly popular argument that blacks should settle down, stop whining, and get jobs, Skin Trade insists that racism remains America's premier national story and its grossest national product. From Aunt Jemima Pancakes to ethnic Barbie dolls, corporate America peddles racial and gender stereotypes, packaging and selling them to us as breakfast food or toys for our kids.
Moving from the realm of child's play through the academy and the justice system, Ann duCille draws on icons of popular culture to demonstrate that it isn't just race and gender that matter in America but race and gender as reducible to skin color, body structure, and other visible signs of difference. She reveals that Mattel, Inc., uses stereotypes of gender, race, and cultural difference to mark--and market--its Barbie dolls as female, white, black, Asian, and Hispanic. The popularity of these dolls suggests the degree to which we have internalized dominant definitions of self and other.
In a similar move, Skin Trade interrogates the popular discourse surrounding the trial of O. J. Simpson, arguing that much of the mainstream coverage of the case was a racially coded message equally dependent on stereotypes. Focusing on Newsweek and Time in particular, duCille shows how the former All-American was depicted as un-American. She explores other collusions and collisions among race, gender, and capital as well. Especially concerned with superficial distinctions perpetuated within the academic community, the author argues that the academy indulges in its own skin trade in which both race and gender are hot properties.
By turns biting, humorous, and hopeful, Skin Trade is always riveting, full of strange connections and unexpected insights.
The reunification of Germany in 1989 may have put an end to the experiment in East German communism, but its historical assessment is far from over. Where most of the literature over the past two decades has been driven by the desire to uncover the relationship between power and resistance, complicity and consent, more recent scholarship tends to concentrate on the everyday history of East German citizens.
This volume builds on the latest literature by exploring the development and experience of life in East Germany, with a particular view toward addressing the question: What did modernity mean for the East German state and society? As such, the collection moves beyond the conceptual divide between state-level politics and everyday life to sharply focus on the specific contours of the GDR's unique experiment in Cold War socialism. What unites all the essays is the question of how the very tensions around "socialist modernity" shaped the views, memories, and actions of East Germans over four decades.
"An impressive volume drawing together rich, diverse essays by some of the most interesting, well-known, and experienced scholars on the GDR in the field, on both sides of the Atlantic."
---Dr. Jan Palmowski, Senior Lecturer in European Studies at King's College London, and Review Editor for German History
"Delving into many sides of the GDR modern, Pence and Betts present both new empirical evidence and offer insightful theoretical perspectives. The idea of the 'Socialist Modern' provides an excellent conceptual framework; the focus on culture fills a hole in the literature, the introduction is theoretically sophisticated and well-grounded in the historiography, and the span and heterogeneity of the articles are impressive."
---Donna Harsch, Associate Professor of History, Carnegie Mellon University
Katherine Pence is Assistant Professor of History, Baruch College, City University of New York.
Paul Betts is Reader in Modern German History, University of Sussex, Brighton, England.
Contributors
Daphne Berdahl
Paul Betts
Alon Confino
Greg Eghigian
Dagmar Herzog
Young-Sun Hong
Thomas Lindenberger
Alf Lüdtke
Ina Merkel
Katherine Pence
Judd Stitziel
Dorothee Wierling
The first comprehensive study of the influence British programming had on American television.
The first comprehensive study of the influence British programming had on American television.
Between Emma Peel and the Ministry of Silly Walks, British television had a significant impact on American popular culture in the 1960s and 1970s. In Something Completely Different, Jeffrey Miller offers the first comprehensive study of British programming on American television, discussing why the American networks imported such series as The Avengers and Monty Python’s Flying Circus; how American audiences received these uniquely British shows; and how the shows’ success reshaped American television.Miller’s lively analysis covers three genres: spy shows, costume dramas, and sketch comedies. In addition to providing his close readings of the series themselves, Miller considers the networks’ packaging of the programs for American viewers and the influences that led to their acceptance, including the American television industry’s search for new advertising revenue and the creation of PBS.Something Completely Different concludes with a discussion of the American programs and genres that owed their existence to British progenitors. Miller convincingly argues that much of what came to define American television by 1980 was in fact British in origin, a contention that casts a new light on traditional discussions of American cultural imperialism.ISBN 0-8166-3240-5 Cloth £31.00 $44.95xxISBN 0-8166-3241-3 Paper £12.50 $17.95x208 Pages 17 black-and-white photos 5 7/8 x 9 JanuaryTranslation inquiries: University of Minnesota PressMass festivals were a trademark of twentieth-century authoritarianism, as seen in fascist Italy, Nazi Germany, and elsewhere. But nowhere was this phenomenon more prevalent than in the Soviet Union. Despite being a dominant feature of Soviet culture, these public spectacles have been largely overlooked as objects of study by historians.
Originally published in German, Malte Rolf’s highly acclaimed work examines the creation and perpetuation of large-scale celebrations such as May Day, the anniversary of the October Revolution, Harvest Day, and others throughout the Soviet era. He chronicles the overt political agendas, public displays of power, forced participation, and widespread use of these events in the Soviet drive to eradicate existing cultural norms and replace them with new icons of Soviet ideology. Rolf shows how the new Red Calendar became an essential tool in redefining celebrations in the Soviet Union.
Rolf traces the roots of Soviet mass festivals in disparate multiethnic celebrations, protests, and street marches during the late imperial era. He then contrasts these with postrevolutionary events that sought to dissolve ethnic rituals and unify the masses. By the end of the civil war, the Bolsheviks had a well-defined calendar of events and began to dictate the forms of public celebration in accordance with party rhetoric. In distant regions, organizers attempted to follow the models of Moscow and Leningrad, despite budgetary constraints and local resistance. In many outlying areas a hybridization of events developed as local customs merged with party mandates. People often made use of official holidays to adopt their own agendas, yet continued to follow the line of an official Soviet culture. Mass festivals were thus an important tool for Sovietizing the cultural landscape.
After the Second World War, the Soviets exported their festival culture to Eastern Europe and the Baltic states, which resulted in a melding of Soviet guidelines with national cultural forms. Additionally, Rolf compares and contrasts Soviet mass spectacles with mass events in Italy, Germany, and the United States to reveal their similar influence despite divergent political, cultural, and social systems.
In the Soviet Union, mass festivals continued through the time of Khrushchev, Brezhnev, and up until perestroika, despite their fading political impact. Rolf finds that in the end, Soviet celebrations became effectively ingrained in Russia’s post-Soviet national memory, which ironically was the intent of the original festival planners. Everybody’s got a theory . . . or do they?
Thomas McLaughlin argues that critical theory—raising serious, sustained questions about cultural practice and ideology—is practiced not only by an academic elite but also by savvy viewers of sitcoms and TV news, by Elvis fans and Trekkies, by labor organizers and school teachers, by the average person in the street.
Like academic theorists, who are trained in a tradition of philosophical and political skepticism that challenges all orthodoxies, the vernacular theorists McLaughlin identifies display a lively and healthy alertness to contradiction and propaganda. They are not passive victims of ideology but active questioners of the belief systems that have power over their lives. Their theoretical work arises from the circumstances they confront on the job, in the family, in popular culture. And their questioning of established institutions, McLaughlin contends, is essential and healthy, for it energizes other theorists who clarify the purpose and strategies of institutions and justify the existence of cultural practices.
Street Smarts and Critical Theory leads us through eye-opening explorations of social activism in the Southern Christian anti-pornography movement, fan critiques in the ‘zine scene, New Age narratives of healing and transformation, the methodical manipulations of the advertising profession, and vernacular theory in the whole-language movement. Emphasizing that theory is itself a pervasive cultural practice, McLaughlin calls on academic institutions to recognize and develop the theoretical strategies that students bring into the classroom.
“This book demystifies the idea of theory, taking it out of the hands of a priestly caste and showing it as the democratic endowment of the people.”—Daniel T. O’Hara, Temple University, author of Radical Parody: American Culture and Critical Agency after Foucault and Lionel Trilling: The Work of Liberation.
“McLaughlin takes seriously the critical and theoretical activity of everyday people and does so in a way that will empower these very populations to take seriously their own activities as theorists. . . . A manifesto that is sure to be heard by the younger generation of thinkers in American cultural studies.”—Henry Jenkins, MIT, author of Textual Poachers: Television Fans and Participatory Culture
From the dawn of European civilization to the twentieth century, the automaton—better known today as the robot—has captured the Western imagination and provided a vital lens into the nature of humanity.
Historian Minsoo Kang argues that to properly understand the human-as-machine and the human-as-fundamentally-different-from-machine, we must trace the origins of these ideas and examine how they were transformed by intellectual, cultural, and artistic appearances of the automaton throughout the history of the West. Kang tracks the first appearance of the automaton in ancient myths through the medieval and Renaissance periods, marks the proliferation of the automaton as a central intellectual concept in the Scientific Revolution and the subsequent backlash during the Enlightenment, and details appearances in Romantic literature and the introduction of the living machine in the Industrial Age. He concludes with a reflection on the destructive confrontation between humanity and machinery in the modern era and the reverberations of the humanity-machinery theme today.
Sublime Dreams of Living Machines is an ambitious historical exploration and, at heart, an attempt to fully elucidate the rich and varied ways we have utilized our most uncanny creations to explore essential questions about ourselves.
Winner, American Book Award, Before Columbus Foundation, 2012
Super Black places the appearance of black superheroes alongside broad and sweeping cultural trends in American politics and pop culture, which reveals how black superheroes are not disposable pop products, but rather a fascinating racial phenomenon through which futuristic expressions and fantastic visions of black racial identity and symbolic political meaning are presented. Adilifu Nama sees the value—and finds new avenues for exploring racial identity—in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts.
Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice.
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