In Paris in 1954, a young man named André Baudry founded Arcadie, an organization for “homophiles” that would become the largest of its kind that has ever existed in France, lasting nearly thirty years. In addition to acting as the only public voice for French gays prior to the explosion of radicalism of 1968, Arcadie—with its club and review—was a social and intellectual hub, attracting support from individuals as diverse as Jean Cocteau and Michel Foucault and offering support and solidarity to thousands of isolated individuals. Yet despite its huge importance, Arcadie has largely disappeared from the historical record.
The main cause of this neglect, Julian Jackson explains in Living in Arcadia, is that during the post-Stonewall era of queer activism, Baudry’s organization fell into disfavor, dismissed as conservative, conformist, and closeted. Through extensive archival research and numerous interviews with the reclusive Baudry, Jackson challenges this reductive view, uncovering Arcadie’s pioneering efforts to educate the European public about homosexuality in an era of renewed repression. In the course of relating this absorbing history, Jackson offers a startlingly original account of the history of homosexuality in modern France.
A compelling study of unofficial postwar Soviet art, The Experimental Group takes as its point of departure a subject of strange fascination: the life and work of renowned professional illustrator and conceptual artist Ilya Kabakov.
Kabakov’s art—iconoclastic installations, paintings, illustrations, and texts—delicately experiments with such issues as history, mortality, and disappearance, and here exemplifies a much larger narrative about the work of the artists who rose to prominence just as the Soviet Union began to disintegrate. By placing Kabakov and his conceptualist peers in line with our own contemporary perspective, Matthew Jesse Jackson suggests that the art that emerged in the wake of Stalin belongs neither entirely to its lost communist past nor to a future free from socialist nostalgia. Instead, these artists and their work produced a critical and controversial chapter in the as yet unwritten history of global contemporary art.
Chicago is a city dedicated to the modern—from the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. Chicago Makes Modern boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question: How did the modern mind—deeply reflective, yet simultaneously directed—help to dramatically alter our perspectives on the world and make it new?
Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, Chicago Makes Modern applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of László Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicago's modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, Chicago Makes Modern reimagines the modern as a space of self-realization and social progress—where individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world.
The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices.
The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.
Challenging the conventional wisdom that Americans are less engaged than ever in national life and the democratic process, Talking Together paints the most comprehensive portrait available of public deliberation in the United States and explains why it is important to America’s future.
The authors’ original and extensive research reveals how, when, and why citizens talk to each other about the issues of the day. They find that—in settings ranging from one-on-one conversations to e-mail exchanges to larger and more formal gatherings—a surprising two-thirds of Americans regularly participate in public discussions about such pressing issues as the Iraq War, economic development, and race relations. Pinpointing the real benefits of public discourse while considering arguments that question its importance, Talking Together presents an authoritative and clear-eyed assessment of deliberation’s function in American governance. In the process, it offers concrete recommendations for increasing the power of talk to foster political action.
Crisis of the House Divided is the standard historiography of the Lincoln-Douglas debates. Harry Jaffa provides the definitive analysis of the political principles that guided Lincoln from his reentry into politics in 1854 through his Senate campaign against Douglas in 1858. To mark the fiftieth anniversary of the original publication, Jaffa has provided a new introduction.
"Crisis of the House Divided has shaped the thought of a generation of Abraham Lincoln and Civil War scholars."—Mark E. Needly, Jr., Civil War History
"An important book about one of the great episodes in the history of the sectional controversy. It breaks new ground and opens a new view of Lincoln's significance as a political thinker."—T. Harry Williams, Annals of the American Academy of Political and Social Sciences
"A searching and provocative analysis of the issues confronted and the ideas expounded in the great debates. . . . A book which displays such learning and insight that it cannot fail to excite the admiration even of scholars who disagree with its major arguments and conclusions."—D. E. Fehrenbacher, American Historical Review
This collection of prefaces, originally written for the 1909 multi-volume New York Edition of Henry James’s fiction, first appeared in book form in 1934 with an introduction by poet and critic R. P. Blackmur. In his prefaces, James tackles the great problems of fiction writing—character, plot, point of view, inspiration—and explains how he came to write novels such as The Portrait of a Lady and The American. As Blackmur puts it, “criticism has never been more ambitious, nor more useful.”
The latest edition of this influential work includes a foreword by bestselling author Colm Tóibín, whose critically acclaimed novel The Master is told from the point of view of Henry James. As a guide not only to James’s inspiration and execution, but also to his frustrations and triumphs, this volume will be valuable both to students of James’s fiction and to aspiring writers.
Beneath the unassuming surface of a progressive women’s college lurks a world of intellectual pride and pomposity awaiting devastation by the pens of two brilliant and appalling wits. Randall Jarrell’s classic novel was originally published to overwhelming critical acclaim in 1954, forging a new standard for campus satire—and instantly yielding comparisons to Dorothy Parker’s razor-sharp barbs. Like his fictional nemesis, Jarrell cuts through the earnest conversations at Benton College—mischievously, but with mischief nowhere more wicked than when crusading against the vitriolic heroine herself.
“A most literate account of a group of most literate people by a writer of power. . . . A delight of true understanding.”—Wallace Stevens
“I’m greatly impressed by the real fun, the incisive satire, the closeness of observation, and in the end by a kind of sympathy and human warmth. It’s a remarkable book.”—Robert Penn Warren
“Move over Dorothy Parker. Pictures . . . is less a novel than a series of poisonous portraits, set pieces, and endlessly quotable put-downs. Read it less for plot than sharp satire, Jarrell’s forte.”—Mary Welp
“One of the wittiest books of modern times.”—New York Times
“[T]he father of the modern campus novel, and the wittiest of them all. Extraordinary to think that ‘political correctness’ was so deliciously dissected 50 years ago.”—Noel Malcolm, Sunday Telegraph
“A sustained exhibition of wit in the great tradition. . . . Immensely and very devastatingly shrewd.”—Edmund Fuller, Saturday Review
“[A] work of fiction, and a dizzying and brilliant work of social and literary criticism. Not only ‘a unique and serious joke-book,’ as Lowell called it, but also a meditation made up of epigrams.”—Michael Wood
This is an auto-narrated audiobook edition of this book.
Two leaders of the National Park Service provide a front-row seat to the disastrous impact of partisan politics over the past fifty years—and offer a bold vision for the parks’ future.
The US National Parks, what environmentalist and historian Wallace Stegner called America’s “best idea,” are under siege. Since 1972, partisan political appointees in the Department of the Interior have offered two conflicting views of the National Park Service (NPS): one vision emphasizes preservation and science-based decision-making, and another prioritizes economic benefits and privatization. These politically driven shifts represent a pernicious, existential threat to the very future of our parks.
For the past fifty years, brothers Jonathan B. and T. Destry Jarvis have worked both within and outside NPS as leaders and advocates. National Parks Forever interweaves their two voices to show how our parks must be protected from those who would open them to economic exploitation, while still allowing generations to explore and learn in them. Their history also details how Congress and administration appointees have used budget and staffing cuts to sabotage NPS’s ability to manage the parks and even threatened their existence. Drawing on their experience, Jarvis and Jarvis make a bold and compelling proposal: that it is time for NPS to be removed from the Department of the Interior and made an independent agency, similar to the Smithsonian Institution, giving NPS leaders the ability to manage park resources and plan our parks’ protection, priorities, and future.
Getting other people to do what we want is a useful skill for anyone. Whether you’re seeking a job, negotiating a deal, or angling for that big promotion, you’re engaged in strategic thought and action. In such moments, you imagine what might be going on in another person’s head and how they’ll react to what you do or say. At the same time, you also try to pick the best way to realize your goals, both with and without the other person’s cooperation. Getting Your Way teaches us how to win that game by offering a fuller understanding of how strategy works in the real world.
As we all know, rules of strategy are regularly discovered and discussed in popular books for business executives, military leaders, and politicians. Those works with their trendy lists of pithy maxims and highly effective habits can help people avoid mistakes or even think anew about how to tackle their problems. But they are merely suggestive, as each situation we encounter in the real world is always more complex than anticipated, more challenging than we had hoped. James M. Jasper here shows us how to anticipate those problems before they actually occur—by recognizing the dilemmas all strategic players must negotiate, with each option accompanied by a long list of costs and risks. Considering everyday dilemmas in a broad range of familiar settings, from business and politics to love and war, Jasper explains how to envision your goals, how to make the first move, how to deal with threats, and how to employ strategies with greater confidence.
Alexander the Great, Genghis Khan, Rosa Parks, Hugo Chávez, and David Koresh all come into play in this smart and engaging book, one that helps us recognize and prepare for the many dilemmas inherent in any strategic action.
The recent announcement that Google will digitize the holdings of several major libraries sent shock waves through the book industry and academe. Google presented this digital repository as a first step towards a long-dreamed-of universal library, but skeptics were quick to raise a number of concerns about the potential for copyright infringement and unanticipated effects on the business of research and publishing.
Jean-Noël Jeanneney, president of France’s Bibliothèque Nationale, here takes aim at what he sees as a far more troubling aspect of Google’s Library Project: its potential to misrepresent—and even damage—the world’s cultural heritage. In this impassioned work, Jeanneney argues that Google’s unsystematic digitization of books from a few partner libraries and its reliance on works written mostly in English constitute acts of selection that can only extend the dominance of American culture abroad. This danger is made evident by a Google book search the author discusses here—one run on Hugo, Cervantes, Dante, and Goethe that resulted in just one non-English edition, and a German translation of Hugo at that. An archive that can so easily slight the masters of European literature—and whose development is driven by commercial interests—cannot provide the foundation for a universal library.
As a leading librarian, Jeanneney remains enthusiastic about the archival potential of the Web. But he argues that the short-term thinking characterized by Google’s digital repository must be countered by long-term planning on the part of cultural and governmental institutions worldwide—a serious effort to create a truly comprehensive library, one based on the politics of inclusion and multiculturalism.
Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans?
These questions have dogged hip-hop for decades, but unlike most pundits, Michael P. Jeffries finds answers by interviewing everyday people. Instead of turning to performers or media critics, Thug Life focuses on the music’s fans—young men, both black and white—and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people’s daily lives. As Jeffries weaves the fans’ voices together with his own sophisticated analysis, we are able to understand hip-hop as a tool listeners use to make sense of themselves and society as well as a rich, self-contained world containing politics and pleasure, virtue and vice.
After nearly fifty years of rigid segregation, the demise of the apartheid regime in South Africa and the African National Congress’s relatively peaceful assumption of power in 1994 were hailed as a miracle. But a few years into the transition, this miracle appeared increasingly threatened by crime and violence. In this compelling ethnography, Steffen Jensen focuses on a single township in Cape Town in order to explore how residents have negotiated the intersecting forces of political change and violent crime.
Jensen spent years closely observing the actions of residents both male and female, young and old, as well as gang members, police officers, and local government officials. The poisonous legacy of apartheid also comes under Jensen’s lens, as he examines the lasting effects that an official policy of racist stereotyping has had on the residents’ conceptions of themselves and their neighbors. While Gangs, Politics, and Dignity in Cape Town brims with insights into ongoing debates over policing, gangs, and local politics, Jensen also shows how people in the townships maintain their dignity in the face of hardship and danger.
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