"By casting the collection explicitly as an outreach to the larger community of Americanists---not primarily those who self-identify as 'digital scholars'---Earhart and Jewell have made an important choice, and one that will likely make this a landmark publication."
---Andrew Stauffer, University of Virginia
The American Literature Scholar in the Digital Age, which features a wide range of practitioner-scholars, is the first of its kind: a gathering of people who are expert in American literary studies and in digital technologies, scholars uniquely able to draw from experience with building digital resources and to provide theoretical commentary on how the transformation to new technologies alters the way we think about and articulate scholarship in American literature. The volume collects articles from those who are involved in tool development, usability testing, editing and textual scholarship, digital librarianship, and issues of race and ethnicity in digital humanities, while also situating digital humanities work within the larger literary discipline. In addition, the volume examines the traditional structures of the fields, including tenure and promotion criteria, modes of scholarly production, the skill sets required for scholarship, and the training of new scholars.
The American Literature Scholar in the Digital Age will attract practitioners of digital humanities in multiple fields, Americanists who utilize digital materials, and those who are intellectually curious about the new movement and materials.
Amy E. Earhart is Assistant Professor in the Department of English at Texas A&M University.
Andrew Jewell is Associate Professor of Digital Projects, University Libraries, at the University of Nebraska–Lincoln.
Cover art: Book background ©iStockphoto.com/natashika
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
One of the most obvious stylistic features of Athenian black-figure vase painting is the use of color to differentiate women from men. By comparing ancient art in Egypt and Greece, Tan Men/Pale Women uncovers the complex history behind the use of color to distinguish between genders, without focusing on race. Author Mary Ann Eaverly considers the significance of this overlooked aspect of ancient art as an indicator of underlying societal ideals about the role and status of women. Such a commonplace method of gender differentiation proved to be a complex and multivalent method for expressing ideas about the relationship between men and women, a method flexible enough to encompass differing worldviews of Pharaonic Egypt and Archaic Greece. Does the standard indoor/outdoor explanation—women are light because they stay indoors—hold true everywhere, or even, in fact, in Greece? How “natural” is color-based gender differentiation, and, more critically, what relationship does color-based gender differentiation have to views about women and the construction of gender identity in the ancient societies that use it?
The depiction of dark men and light women can, as in Egypt, symbolize reconcilable opposites and, as in Greece, seemingly irreconcilable opposites where women are regarded as a distinct species from men. Eaverly challenges traditional ideas about color and gender in ancient Greek painting, reveals an important strategy used by Egyptian artists to support pharaonic ideology and the role of women as complementary opposites to men, and demonstrates that rather than representing an actual difference, skin color marks a society’s ideological view of the varied roles of male and female.
The emergence of New Institutional Economics toward the end of the twentieth century profoundly changed our ideas about the organization of economic systems and their social and political foundations. Imperfect Institutions explores recent developments in this field and pushes the discussion forward by allowing for incomplete knowledge of social systems and unexpected system dynamics and, above all, by focusing explicitly on institutional policy. Empirical studies extending from Africa to Iceland are cited in support of the theoretical argument.
In Imperfect Institutions Thráinn Eggertsson extends his attempt to integrate and develop the new field that began with his acclaimed Economic Behavior and Institutions (1990), which has been translated into six languages. This latest work analyzes why institutions that create relative economic backwardness emerge and persist and considers the possibilities and limits of institutional reform.
Thráinn Eggertsson is Professor of Economics at the University of Iceland and Global Distinguished Professor of Politics at New York University. Previously published works include Economic Behavior and Institutions (1990) and Empirical Studies in Institutional Change with Lee Alston and Douglass North (1996).
The Chadian writer Nimrod—philosopher, poet, novelist, and essayist—is one of the most dynamic and vital voices in contemporary African literature and thought. Yet little of Nimrod’s writing has been translated into English until now. Introductory material by Frieda Ekotto provides context for Nimrod’s work and demonstrates the urgency of making it available beyond Francophone Africa to a broader global audience.
At the heart of this volume are Nimrod’s essays on Léopold Sédar Senghor, a key figure in the literary and aesthetic Négritude movement of the 1930s and president of Senegal from 1945 through 1980. Widely dismissed in recent decades as problematically essentialist, Senghorian Negritude articulated notions of “blackness” as a way of transcending deep divisions across a Black Diaspora under French colonial rule. Nimrod offers a nuanced reading of Senghor, drawing out the full complexities of Senghor’s philosophy and reevaluating how race and colonialism function in a French-speaking space.
Also included in this volume are Nimrod’s essays on literature from the 2008 collection, The New French Matter (La nouvelle chose française). Representing his prose fiction is his 2010 work, Rivers’ Gold (L’or des rivières). Also featured are some of Nimrod’s best-loved poems, in both English translation and the original French.
The works selected and translated for this volume showcase Nimrod’s versatility, his intellectual liveliness, and his exploration of questions of aesthetics in African literature, philosophy, and linguistics. Nimrod: Selected Writings marks a significant contribution toward engaging a broader audience with one of the vital voices of our time. This book will be essential reading for Anglophone students and scholars of African philosophy, literature, poetry, and critical theory, and will offer a welcome introduction to Nimrod for general readers of contemporary international writing.
Unifying concepts are essential when studying history. They provide students and scholars with ways to organize their thoughts, research, and writings. However, these concepts are also the focus of myriad conflicts within the field. Social history has experienced more than its share of such conflicts since its inception some forty years ago. In recent times the fields of “the social” and of “culture” have sometimes been presented as mutually exclusive and even hostile. Once again, conceptual innovation in history has been cast as a closure by which the new drives out the old: in this case, cultural history radically displacing social history. The Future of Class in History analyzes the effect of the conflict that followed the “turn to culture” in historical work by examining the use of class and demonstrates how practitioners in multiple fields can collaborate to produce the highest quality scholarship.
“Offers new ways of thinking about ‘class’ and ‘society’ in a world in which such categories have been radically called into question.”
—Sherry Ortner, University of California, Los Angeles
“Brilliantly charts social history’s past achievement, present dilemma, and future promise in a work distinguished by intellectual openness and generosity.”
—James A. Epstein, Vanderbilt University
“Eley and Nield seek to rescue the deluded follower of social history from the enormous condescension of the cultural turn. They succeed admirably, making the case for a new hybrid socio-cultural history.”
—Donald Reid, University of North Carolina at Chapel Hill
“This terrific double act has once again produced a text that demands to be read by all those tired of the juxtaposition of social and cultural histories and still interested in the problematic of class and the politics of its past and present.”
—James Vernon, University of California, Berkeley
“Eley and Nield tackle a contentious debate with a gracious plea for collaboration. Their strong desire to get past the ‘culture wars’ and to engage social and cultural historians in fruitful dialogue is a welcome move, stylishly executed.”
—Philippa Levine, University of Southern California
Geoff Eley is Professor of History at the University of Michigan.
Keith Nield is Professor Emeritus of History at the University of Hull.
David Ellerman relates a deep theoretical groundwork for a philosophy of development, while offering a descriptive, practical suggestion of how goals of development can be better set and met. Beginning with the assertion that development assistance agencies are inherently structured to provide help that is ultimately unhelpful by overriding or undercutting the capacity of people to help themselves, David Ellerman argues that the best strategy for development is a drastic reduction in development assistance. The locus of initiative can then shift from the would-be helpers to the doers (recipients) of development. Ellerman presents various methods for shifting initiative that are indirect, enabling and autonomy-respecting. Eight representative figures in the fields of education, community organization, economic development, psychotherapy and management theory including: Albert Hirschman, Paulo Freire, John Dewey, and Søren Kierkegaard demonstrate how the major themes of assisting autonomy among people are essentially the same.
David Ellerman is currently a Visiting Scholar in the Economics Department at the University of California at Riverside.
Was there more to comedy than Chaucer, the Second Shepherds’ Play, or Shakespeare? Of course! But, for a real taste of medieval and Renaissance humor and in-your-face slapstick, one must cross the Channel to France, where over two hundred extant farces regularly dazzled crowds with blistering satires. Dwarfing all other contemporaneous theatrical repertoires, the boisterous French corpus is populated by lawyers, lawyers everywhere. No surprise there. The lion’s share of mostly anonymous farces was written by barristers, law students, and legal apprentices. Famous for skewering unjust judges and irreligious ecclesiastics, they belonged to a 10,000-member legal society known as the Basoche, which flourished between 1450 and 1550. What is more, their dramatic send-ups of real and fictional court cases were still going strong on the eve of Molière, resilient against those who sought to censor and repress them. The suspenseful wait to see justice done has always made for high drama or, in this case, low drama. But, for centuries, the scripts for these outrageous shows were available only in French editions gathered from scattered print and manuscript sources.
In Trial by Farce, prize-winning theater historian Jody Enders brings twelve of the funniest legal farces to English-speaking audiences in a refreshingly uncensored but philologically faithful vernacular. Newly conceived as much for scholars as for students and theater practitioners, this repertoire and its familiar stock characters come vividly to life as they struggle to negotiate the limits of power, politics, class, gender, and, above all, justice. Through the distinctive blend of wit, social critique, and breathless boisterousness that is farce, we gain a new understanding of comedy itself as form of political correction. In ways presciently modern and even postmodern, farce paints a different cultural picture of the notoriously authoritarian Middle Ages with its own vision of liberty and justice for all. Theater eternally offers ways for new generations to raise their voices and act.Honor and Profit offers a welcome corrective to the outmoded Finleyite view of the ancient economy. This important volume collects and analyzes economic evidence including government decrees for all known occasions on which Athens granted honors and privileges for services relating to trade.
The analysis proceeds within the intellectual framework of substantive economic theory, in which formal market behavior and institutions are considered to be but a subset of a larger group of economic behaviors and institutions devoted to the production, distribution, and exchange of goods.
Honor and Profit merges theory with empirical historical evidence to illustrate the complexity and dynamism of the ancient Greek economy. The author's conclusions have broad implications for our understanding not only of Athens and environs but also of the social and political history of Greece and the ancient Mediterranean world.
Darel Tai Engen is Associate Professor of History at California State University, San Marcos.
Also of interest
An Introduction to Greek Epigraphy of the Hellenistic and Roman Periods from Alexander the Great down to the Reign of Constantine (323 B.C.---A.D. 337)
By B. H. McLean
The Athenian Empire Restored: Epigraphic and Historical Studies
By Harold B. Mattingly
The Athenian Experiment: Building an Imagined Political Community in Ancient Attica, 508---490 B.C.
By Greg Anderson
Erik J. Engstrom offers a historical perspective on the effects of gerrymandering on elections and party control of the U.S. national legislature. Aside from the requirements that districts be continuous and, after 1842, that each select only one representative, there were few restrictions on congressional districting. Unrestrained, state legislators drew and redrew districts to suit their own partisan agendas. With the rise of the “one-person, one-vote” doctrine and the implementation of the Voting Rights Act of 1965, however, redistricting became subject to court oversight.
Engstrom evaluates the abundant cross-sectional and temporal variation in redistricting plans and their electoral results from all the states, from 1789 through the 1960s, to identify the causes and consequences of partisan redistricting. His analysis reveals that districting practices across states and over time systematically affected the competitiveness of congressional elections; shaped the partisan composition of congressional delegations; and, on occasion, determined party control of the House of Representatives.
"This project fits into the larger picture of excellence that we wish to accomplish in all dimensions of our health system: groundbreaking and dedicated research, compassionate clinical care, progressive education, and a welcoming environment that includes community with people with disabilities. In Deep, the writers and editors of this book realize this mission with accuracy and clarity."
---Denise G. Tate, Director of Research at the University of Michigan Model Spinal Cord Injury Care System
People with spinal cord injuries experience life beyond their medical and rehabilitative journeys, but these stories are rarely told. Deep: Real Life with Spinal Cord Injury includes the stories of ten men and women whose lives have been transformed by spinal cord injury. Each essay challenges the stereotypes and misconceptions about SCI---with topics ranging from faith to humility to sex and manhood---offering a multitude of voices that weave together to create a better understanding of the diversity of disability and the uniqueness of those individuals whose lives are changed but not defined by their injuries. Life with SCI can be traumatic and ecstatic, uncharted and thrilling, but it always entails a journey beyond previous expectations. This volume captures this sea change, exploring the profound depths of SCI experience.
"This was really the first time that blues music, especially Chicago/urban blues, was showcased in this way. Sadly, the festivals were not recorded professionally. So Mr. Livingston's photos are the best record of the festivals."
---Michael Jewett, longtime weekday afternoon host of 89.1 Jazz and host of "Blues & Some Uthuh Stuff"
"The photos are works of art. It is great to see photos of musicians such as Buddy Guy and James Cotton looking so young and vibrant. And it is great to see photos of blues legends such as John Lee Hooker, Roosevelt Sykes, Howlin' Wolf, and Son House, who have long since passed away."
---Peter Madcat Ruth, Grammy-winning blues harmonica player
"If Woodstock was one of the Fifty Moments That Changed Rock 'n' Roll History, as honored in Rolling Stone magazine, then the Ann Arbor Blues Festival was the coronation for the blues roots that sired rock to begin with. . . . finally we have this amazing book of Stanley Livingston's priceless images, along with Michael Erlewine's detailed chronology."
---From the foreword by Jim O'Neal, Cofounder, Living Blues Magazine
In 1969 and 1970, the first Ann Arbor Blues Festivals brought together the greatest-ever selection of blues performers---an enormous blues party that seemed to feature every big name in the world of blues.
The Ann Arbor Blues Festival was just that: a festival and celebration of city blues. It helped to mark the discovery of modern blues music (and the musicians who made that music) by a much larger audience. The festival, however, was something more than just a white audience discovering black music.
Never before had such a far-reaching list of performers been assembled, including the grandfathers of southern country blues and the hottest electric bands from Chicago. These groundbreaking festivals were the seed that grew into the Ann Arbor Blues and Jazz Festival, which was continued annually for many years. To name just a few of the dozens of artists who performed at the festival: Luther Allison, John Lee Hooker, Howlin' Wolf, B.B. King, Muddy Waters, Otis Rush, Hound Dog Taylor, Big Mama Thorton, T-Bone Walker, Sippie Wallace, Junior Wells, and Mighty Joe Young.
Stanley Livingston, a professional photographer from Ann Arbor, captured these legendary performances onstage---as well as the goings-on backstage. Livingston's thousands of photographs from these festivals, previously unpublished and known only to a few, are among the finest candid blues shots ever taken. Together with editor and archivist Michael Erlewine's text accompaniments, these photographs, reproduced here as high-quality duotones, comprise a visual history and important keepsake for blues aficionados everywhere.
Stanley Livingston was an award-winning photographer living and working in Ann Arbor until he passed away in 2010, after the book was released.
Michael Erlewine, also from Ann Arbor, is a renowned archivist of popular culture and founder of the All-Music Guide (allmusic.com) and editor of a number of books on blues and jazz.
Cover photo of B.B. King by Stanley Livingston
Prior praise for Martín Espada:
"Political poetry at its finest…with his soaring lyrics, Espada broadens our appreciation not only of poetry but of resistance itself."
---The Progressive
"(Espada) writes beautiful poems about terrible realities."
---San Francisco Chronicle
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
This collection of essays on poetry and politics comes from the man the New York Times predicted would become "the Latino poet of his generation" and whom Sandra Cisneros called "the Pablo Neruda of North American authors."
Martín Espada defends what Walt Whitman called, "the rights of them the others are down upon." He invokes the spirit of poet-advocates such as Whitman and Edgar Lee Masters to explore his own history as a poet and tenant lawyer in Boston's Latino community. He celebrates the poets of Puerto Rico, imprisoned for espousing the cause of independence, and the poets of the Bronx, writing bilingual poems in the voices of the dead.
Espada writes of forgotten places and reminds us of the poet's responsibility to remember, as Pablo Neruda remembers the anonymous builders of Machu Picchu or Sterling Brown remembers the slave uprising of Nat Turner. He argues that poets should embrace the role of Shelley's "unacknowledged legislator" in their work as writers and in their lives as citizens. He challenges the conventional wisdom that poetry and politics are mutually exclusive, and rejects the poetics of self-marginalization, in keeping with Adrian Mitchell's dictum that, "most people ignore most poetry because most poetry ignores most people."
Martín Espada has published seventeen books as a poet, editor, and translator. The Republic of Poetry, a collection of poems, received a Paterson Award for Sustained Literary Achievement and was a finalist for the Pulitzer Prize. Imagine the Angels of Bread won an American Book Award and was a finalist for the National Book Critics Circle Award. He has received numerous fellowships and awards, including a Guggenheim Fellowship and the National Hispanic Cultural Center Literary Award. Espada is a Professor of English at the University of Massachusetts-Amherst.
Working Backstage illuminates the work of New York City’s theater technicians, shining a light on the essential contributions of unionized stagehands, carpenters, electricians, sound engineers, properties artisans, wardrobe crews, makeup artists, and child guardians. Too-often dismissed or misunderstood as mere functionaries, these technicians are deeply engaged in creative problem-solving and perform collaborative, intricate choreographed work that parallels the performances of actors, singers, and dancers onstage. Although their contributions have fueled the Broadway machine, their contributions have been left out of most theater histories.
Theater historian Christin Essin offers clear and evocative descriptions of this invaluable labor, based on her archival research and interviews with more than 100 backstage technicians, members of the New York local of the International Alliance of Theatrical Stage Employees. A former theater technician herself, Essin provides readers with an insider’s view of the Broadway stage, from the suspended lighting bridge of electricians operating followspots for A Chorus Line; the automation deck where carpenters move the massive scenic towers for Newsies; the makeup process in the dressing room for The Lion King; the offstage wings of Matilda the Musical, where guardians guide child actors to entrances and exits. Working Backstage makes an significant contribution to theater studies and also to labor studies, exploring the politics of the unions that serve backstage professionals, protecting their rights and insuring safe working conditions. Illuminating the history of this typically hidden workforce, the book provides uncommon insights into the business of Broadway and its backstage working relationships among cast and crew members.
How does the leadership of a Senate committee influence the outcome of bills? In Leadership in Committee C. Lawrence Evans delves into the behavior of legislative leaders and the effects of what they do, how their tactics vary, and why. Using evidence gleaned from personal interviews with a large number of U.S. senators and Senate staff, the author compares the leadership styles of eight committee chairs and ranking minority members in the U.S. Senate. The result is a significant contribution to the literature on American politics, the first book-length, comparative analysis of legislative leadership behavior in the modern Senate.
". . . .this book is highly recommended reading for those interested in both legislative politics and political leadership. . . .Leadership in Committee establishes Evans as one of the handful of political scientists who have done justice to the subtleties of politics in the modern Senate."
---Randall Strahan, Journal of Politics
"Larry Evans has significantly influenced my own work over the years, and Leadership in Committee is one reason why. It is a model of great scholarship, the best work on committee leadership ever written. It has the discriminatory sense of context that appears only when the author truly knows his subject. It is theoretical without being reductionist or vacuously abstract. Its principal claims are general yet sufficiently concrete to be testable, and Evans provides systematic, comparative evidence to support (or qualify) each of them. Larger issues of agenda-setting, institutional structure, partisanship, anticipated reactions, participation, committee-floor bargaining, and strategic action of various kinds receive thoughtful and insightful examination. And the book is simply a terrific read. Too long in coming, the publication of Leadership in Committee in paperback ought to spark a well-deserved revival of interest in this work."
---Richard L. Hall, University of Michigan
The party whips are essential components of the U.S. legislative system, responsible for marshalling party votes and keeping House and Senate party members in line. In The Whips, C. Lawrence Evans offers a comprehensive exploration of coalition building and legislative strategy in the U.S. House and Senate, ranging from the relatively bipartisan, committee-dominated chambers of the 1950s to the highly polarized congresses of the 2000s. In addition to roll call votes and personal interviews with lawmakers and staff, Evans examines the personal papers of dozens of former leaders of the House and Senate, especially former whips. These records allowed Evans to create a database of nearly 1,500 internal leadership polls on hundreds of significant bills across five decades of recent congressional history.
The result is a rich and sweeping understanding of congressional party leaders at work. Since the whips provide valuable political intelligence, they are essential to understanding how coalitions are forged and deals are made on Capitol Hill.
Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory,Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s racist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.
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