Following the innovative collection Spill, Alexis Pauline Gumbs's M Archive—the second book in a planned experimental triptych—is a series of poetic artifacts that speculatively documents the persistence of Black life following a worldwide cataclysm. Engaging with the work of the foundational Black feminist theorist M. Jacqui Alexander, and following the trajectory of Gumbs's acclaimed visionary fiction short story “Evidence,” M Archive is told from the perspective of a future researcher who uncovers evidence of the conditions of late capitalism, antiblackness, and environmental crisis while examining possibilities of being that exceed the human. By exploring how Black feminist theory is already after the end of the world, Gumbs reinscribes the possibilities and potentials of scholarship while demonstrating the impossibility of demarcating the lines between art, science, spirit, scholarship, and politics.
Allan Gilbert is unquestionably the most accurate and reliable translator of Machiavelli into English; the publication of this edition is an altogether happy occasion. Students of the history of political thought owe a particular debt of gratitude to Allan Gilbert.”—Dante Germino, The Journal of Politics
“A most remarkable achievement.”—Felix Gilbert, Renaissance Quarterly
Allan Gilbert is unquestionably the most accurate and reliable translator of Machiavelli into English; the publication of this edition is an altogether happy occasion. Students of the history of political thought owe a particular debt of gratitude to Allan Gilbert.”—Dante Germino, The Journal of Politics
“A most remarkable achievement.”—Felix Gilbert, Renaissance Quarterly
Allan Gilbert is unquestionably the most accurate and reliable translator of Machiavelli into English; the publication of this edition is an altogether happy occasion. Students of the history of political thought owe a particular debt of gratitude to Allan Gilbert.”—Dante Germino, The Journal of Politics
“A most remarkable achievement.”—Felix Gilbert, Renaissance Quarterly
Machine Art and Other Writings presents previously unpublished and rare writings by one of the literary giants of the modernist period, Ezra Pound. Written from the late 1920s to the early part of the 1940s, these essays, selected by Maria Luisa Ardizzone and including “Machine Art,” “How To Write,” “European Paideuma,” and “Pragmatic Aesthetics,” are typically Poundian in style—irascible, eccentric, and by turns both engaging and cryptic. Importantly, these essays from Pound’s Italian years shed light both on the sections of the Cantos written in the late 1940s and on the underpinnings of his well-known anti-Semitism. The essays in this volume address Pound’s diverse aesthetic concerns, including his Vorticism and his criticism of Western metaphysics, his advancement of the machine as a new criterion for beauty, his encounter with the German Bauhaus movement, and his search for a type of writing ruled by mathematical rather than grammatical laws. Machine Art and Other Writings documents the wide proportions of Pound’s polemic against the abstractions of modernism and reveals the extent to which he was at odds with the metaphysical assumptions of his time. The volume, edited by Ardizzone, is the result of years of systematic and intensive study of Pound’s manuscripts, including glosses from the texts of his personal library. Proposing an unconventional approach to Pound studies that focuses on marginality and intertextuality, she subverts the canonical hierarchy of Pound’s works by revealing the power of texts considered marginalia. General readers, students and scholars in the fields of European and American modernism, aesthetics, the history of technology, and art history, as well as Pound specialists and the many poets and writers influenced by Pound, will greet the publication of Machine Art and Other Writings with interest and anticipation.
Agricultural protectionism is a basic factor underlying the U.S. trade deficit, Third World debt, and global underemployment. Yet despite the seriousness of the problem and attention given to it by many researchers, little progress has been made in formulating and implementing policies to deal with it. The scholars and experts here assembled present for the first time a quantification and analysis of the impact upon the world economy of reduction or elimination of agricultural protectionism. They question why, give the magnitude of the problem, inferior policies endure despite the weight of evidence that they have failed. The answer they derive is that there is no general understanding of the true cost of the failure, and therefore it is necessary to initiate reform from outside agricultural circles.
Increasingly in the last decade, macropolitics—a consideration of political transformations at the level of the state—has become a focus for cultural inquiry. From the macropolitical perspective afforded by contemporary postcolonial studies, the essays in this collection explore the relationship between politics and culture by examining developments in a wide range of nineteenth-century writing. The dozen essays gathered here span the entire era of colonization and discuss the British Isles, Europe, the United States, India, the Caribbean, and Africa. Addressing the works of Wordsworth, Shelley, Dickens, Melville, Flaubert, Conrad, and Charlotte Brontë, as well as explorers’ reports, Bible translations, popular theater, and folklore, the contributors consider such topics as the political function of aesthetic containment, the redefinitions of nationality under the pressure of imperial ambition, and the coexistence of imperial and revolutionary tendencies. New historical data and new interpretive perspectives alter our conception of established masterpieces and provoke new understandings of the political and cultural context within which these works emerged. This anthology demonstrates that the macropolitical concept of imperialism can provide a new understanding of nineteenth-century cultural production by integrating into a single process the well-established topics of nationalism and exoticism. First published in 1991 (University of Pennsylvania Press), Macropolitics of Nineteenth-Century Literature is now available in paperback. Offering agenda-setting essays in cultural and Victorian studies, it will be of interest to students and scholars of British and American literature, literary theory, and colonial and postcolonial studies.
Contributors. Jonathan Arac, Chris Bongie, Wai-chee Dimock, Bruce Greenfield, Mark Kipperman, James F. Knapp, Loren Kruger, Lisa Lowe, Susan Meyer, Jeff Nunokawa, Harriet Ritvo, Marlon B. Ross, Nancy Vogeley, Sue Zemka
Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world. Mad Men, Mad World is a comprehensive analysis of this groundbreaking TV series. Scholars from across the humanities consider the AMC drama from a fascinating array of perspectives, including fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format, as well as through theoretical frames such as critical race theory, gender, queer theory, global studies, and psychoanalysis.
In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day.
Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varon
Roberto Arlt Duke University Press, 2002 Library of Congress PQ7797.A66J813 2002 | Dewey Decimal 863.62
Roberto Arlt, celebrated in Argentina for his tragicomic, punch-in-the-jaw writing during the 1920s and 1930s, was a forerunner of Latin American “boom” and “postboom” novelists such as Gabriel García Márquez and Isabel Allende. Mad Toy, acclaimed by many as Arlt’s best novel, is set against the chaotic background of Buenos Aires in the early twentieth century. Set in the badlands of adolescence, where acts of theft and betrayal become metaphors for creativity, Mad Toy is equal parts pulp fiction, realism, detective story, expressionist drama, and creative memoir. An immigrant son of a German father and an Italian mother, Arlt as a youth was a school dropout, poor and often hungry. In Mad Toy, he incorporates his personal experience into the lives of his characters. Published in 1926 as El juguete rabioso, the novel follows the adventures of Silvio Astier, a poverty-stricken and frustrated youth who is drawn to gangs and a life of petty crime. As Silvio struggles to bridge the gap between exuberant imagination and the sordid reality around him, he becomes fascinated with weapons, explosives, vandalism, and thievery, despite a desperate desire to rise above his origins. Flavored with a dash of romance, a hint of allegory, and a healthy dose of irony, the novel’s language varies from the cultured idiom of the narrator to the dialects and street slang of the novel’s many colorful characters. Mad Toy has appeared in numerous Spanish editions and has been adapted for the stage and for film. It is the second of Arlt’s novels to be translated into English.
As China has evolved into an industrial powerhouse over the past two decades, a new class of workers has developed: the dagongmei, or working girls. The dagongmei are women in their late teens and early twenties who move from rural areas to urban centers to work in factories. Because of state laws dictating that those born in the countryside cannot permanently leave their villages, and familial pressure for young women to marry by their late twenties, the dagongmei are transient labor. They undertake physically exhausting work in urban factories for an average of four or five years before returning home. The young women are not coerced to work in the factories; they know about the twelve-hour shifts and the hardships of industrial labor. Yet they are still eager to leave home. Made in China is a compelling look at the lives of these women, workers caught between the competing demands of global capitalism, the socialist state, and the patriarchal family.
Pun Ngai conducted ethnographic work at an electronics factory in southern China’s Guangdong province, in the Shenzhen special economic zone where foreign-owned factories are proliferating. For eight months she slept in the employee dormitories and worked on the shop floor alongside the women whose lives she chronicles. Pun illuminates the workers’ perspectives and experiences, describing the lure of consumer desire and especially the minutiae of factory life. She looks at acts of resistance and transgression in the workplace, positing that the chronic pains—such as backaches and headaches—that many of the women experience are as indicative of resistance to oppressive working conditions as they are of defeat. Pun suggests that a silent social revolution is underway in China and that these young migrant workers are its agents.
Since its creation in 1964, readers from all over the world have loved the comic Mafalda, primarily because of the sharp wit and rebellious nature of its title character—a four-year-old girl who is wise beyond her years. Through Mafalda, Argentine cartoonist Joaquín Salvador Lavado explores complex questions about class identity, modernization, and state violence. In Mafalda: A Social and Political History of Latin America's Global Comic—first published in Argentina in 2014 and appearing here in English for the first time—Isabella Cosse analyzes the comic's vast appeal across multiple generations. From Mafalda breaking the fourth wall to speak directly to readers to express her opposition to the 1966 Argentine coup, to Spanish students' protest signs bearing her face, to the comic's cult status in Korea, Cosse provides insights into the cartoon's production, circulation, and incorporation into social and political conversations. Analyzing how Mafalda reflects generational conflicts, gender, modernization, the Cold War, authoritarianism, neoliberalism, and much more, Cosse demonstrates the unexpected power of humor to shape revolution and resistance.
In The Magic of Concepts Rebecca E. Karl interrogates "the economic" as concept and practice as it was construed historically in China in the 1930s and again in the 1980s and 1990s. Separated by the Chinese Revolution and Mao's socialist experiments, each era witnessed urgent discussions about how to think about economic concepts derived from capitalism in modern China. Both eras were highly cosmopolitan and each faced its own global crisis in economic and historical philosophy: in the 1930s, capitalism's failures suggested that socialism offered a plausible solution, while the abandonment of socialism five decades later provoked a rethinking of the relationship between history and the economic as social practice. Interweaving a critical historiography of modern China with the work of the Marxist-trained economist Wang Yanan, Karl shows how "magical concepts" based on dehistoricized Eurocentric and capitalist conceptions of historical activity that purport to exist outside lived experiences have erased much of the critical import of China's twentieth-century history. In this volume, Karl retrieves the economic to argue for a more nuanced and critical account of twentieth-century Chinese and global historical practice.
Magical realism is often regarded as a regional trend, restricted to the Latin American writers who popularized it as a literary form. In this critical anthology, the first of its kind, editors Lois Parkinson Zamora and Wendy B. Faris show magical realism to be an international movement with a wide-ranging history and a significant influence among the literatures of the world. In essays on texts by writers as diverse as Toni Morrison, Günter Grass, Salman Rushdie, Derek Walcott, Abe Kobo, Gabriel García Márquez, and many others, magical realism is examined as a worldwide phenomenon. Presenting the first English translation of Franz Roh’s 1925 essay in which the term magical realism was coined, as well as Alejo Carpentier’s classic 1949 essay that introduced the concept of lo real maravilloso to the Americas, this anthology begins by tracing the foundations of magical realism from its origins in the art world to its current literary contexts. It offers a broad range of critical perspectives and theoretical approaches to this movement, as well as intensive analyses of various cultural traditions and individual texts from Eastern Europe, Asia, North America, Africa, the Caribbean, and Australia, in addition to those from Latin America. In situating magical realism within the expanse of literary and cultural history, this collection describes a mode of writing that has been a catalyst in the development of new regional literatures and a revitalizing force for more established narrative traditions—writing particularly alive in postcolonial contexts and a major component of postmodernist fiction.
The Make-Believe Space is a book of ethnographic and theoretical meditation on the phantasmatic entanglement of materialities in the aftermath of war, displacement, and expropriation. "Northern Cyprus," carved out as a separate space and defined as a distinct (de facto) polity since its invasion by Turkey in 1974, is the subject of this ethnography about postwar politics and social relations. Turkish-Cypriots' sociality in a reforged geography, rid of its former Greek-Cypriot inhabitants after the partition of Cyprus, forms the centerpiece of Yael Navaro-Yashin's conceptual exploration of subjectivity in the context of "ruination" and "abjection." The unrecognized state in Northern Cyprus unfolds through the analytical devices that she develops as she explores this polity's administration and raison d'être via affect theory. Challenging the boundaries between competing theoretical orientations, Navaro-Yashin crafts a methodology for the study of subjectivity and affect, and materiality and the phantasmatic, in tandem. In the process, she creates a subtle and nuanced ethnography of life in the long-term aftermath of war.
In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the “Before-body”—the overweight figure, the decrepit jalopy, the cluttered home—to the “After-body,” one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your “true self,” you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else.
Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood.
In Makers of Democracy A. Ricardo López-Pedreros traces the ways in which a thriving middle class was understood to be a foundational marker of democracy in Colombia during the second half of the twentieth century. Drawing on a wide array of sources ranging from training manuals and oral histories to school and business archives, López-Pedreros shows how the Colombian middle class created a model of democracy based on free-market ideologies, private property rights, material inequality, and an emphasis on a masculine work culture. This model, which naturalized class and gender hierarchies, provided the groundwork for Colombia's later adoption of neoliberalism and inspired the emergence of alternate models of democracy and social hierarchies in the 1960s and 1970s that helped foment political radicalization. By highlighting the contested relationships between class, gender, economics, and politics, López-Pedreros theorizes democracy as a historically unstable practice that exacerbated multiple forms of domination, thereby prompting a rethinking of the formation of democracies throughout the Americas.
Making a New World is a major rethinking of the role of the Americas in early world trade, the rise of capitalism, and the conflicts that reconfigured global power around 1800. At its center is the Bajío, a fertile basin extending across the modern-day Mexican states of Guanajuato and Querétaro, northwest of Mexico City. The Bajío became part of a new world in the 1530s, when Mesoamerican Otomís and Franciscan friars built Querétaro, a town that quickly thrived on agriculture and trade. Settlement accelerated as regional silver mines began to flourish in the 1550s. Silver tied the Bajío to Europe and China; it stimulated the development of an unprecedented commercial, patriarchal, Catholic society. A frontier extended north across vast expanses settled by people of European, Amerindian, and African ancestry. As mining, cloth making, and irrigated cultivation increased, inequities deepened and religious debates escalated. Analyzing the political economy, social relations, and cultural conflicts that animated the Bajío and Spanish North America from 1500 to 1800, John Tutino depicts an engine of global capitalism and the tensions that would lead to its collapse into revolution in 1810.
At the center of this subtle ethnographic account of the Haya communities of Northwest Tanzania is the idea of a lived world as both the product and the producer of everyday practices. Drawing on his experience living with the Haya, Brad Weiss explores Haya ways of constructing and inhabiting their community, and examines the forces that shape and transform these practices over time. In particular, he shows how the Haya, a group at the fringe of the global economy, have responded to the processes and material aspects of money, markets, and commodities as they make and remake their place in a changing world. Grounded in a richly detailed ethnography of Haya practice, Weiss’s analysis considers the symbolic qualities and values embedded in goods and transactions across a wide range of cultural activity: agricultural practice and food preparation, the body’s experience of epidemic disease from AIDS to the infant affliction of “plastic teeth,” and long-standing forms of social movement and migration. Weiss emphasizes how Haya images of consumption describe the relationship between their local community and the global economy. Throughout, he demonstrates that particular commodities and more general market processes are always material and meaningful forces with the potential for creativity as well as disruption in Haya social life. By calling attention to the productive dimensions of this spatial and temporal world, his work highlights the importance of human agency in not only the Haya but any sociocultural order. Offering a significant contribution to the anthropological theories of practice, embodiment, and agency, and enriching our understanding of the lives of a rural African people, The Making and Unmaking of the Haya Lived World will interest historians, anthropologists, ethnographers, and scholars of cultural studies.
The Making and Unmaking of Whiteness
Birgit Brander Rasmussen, Eric Klinenberg, Irene J. Nexica, and Matt Wray, eds. Duke University Press, 2001 Library of Congress E184.A1M2627 2001 | Dewey Decimal 305.8034073
Bringing together new articles and essays from the controversial Berkeley conference of the same name, The Making and Unmaking of Whiteness presents a fascinating range of inquiry into the nature of whiteness. Representing academics, independent scholars, community organizers, and antiracist activists, the contributors are all leaders in the “second wave” of whiteness studies who collectively aim to combat the historical legacies of white supremacy and to inform those who seek to understand the changing nature of white identity, both in the United States and abroad. With essays devoted to theories of racial domination, comparative global racisms, and transnational white identity, the geographical reach of the volume is significant and broad. Dalton Conley writes on “How I Learned to Be White.” Allan Bérubé discusses the intersection of gay identity and whiteness, and Mab Segrest describes the spiritual price white people pay for living in a system of white supremacy. Other pieces examine the utility of whiteness as a critical term for social analysis and contextualize different attempts at antiracist activism. In a razor-sharp introduction, the editors not only raise provocative questions about the intellectual, social, and political goals of those interested in the study of whiteness but assess several of the topic’s major recurrent themes: the visibility of whiteness (or the lack thereof); the “emptiness” of whiteness as a category of identification; and conceptions of whiteness as a structural privilege, a harbinger of violence, or an institutionalization of European imperialism.
Contributors. William Aal, Allan Bérubé, Birgit Brander Rasmussen, Dalton Conley, Troy Duster, Ruth Frankenberg, John Hartigan Jr., Eric Klinenberg, Eric Lott, Irene J. Nexica, Michael Omi, Jasbir Kaur Puar, Mab Segrest, Vron Ware, Howard Winant, Matt Wray
In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
In Making Freedom Anne-Maria Makhulu explores practices of squatting and illegal settlement on the outskirts of Cape Town during and immediately following the end of apartheid. Apartheid's paradoxical policies of prohibiting migrant Africans who worked in Cape Town from living permanently within the city led some black families to seek safe haven on the city's perimeters. Beginning in the 1970s families set up makeshift tents and shacks and built whole communities, defying the state through what Makhulu calls a "politics of presence." In the simple act of building homes, squatters, who Makhulu characterizes as urban militants, actively engaged in a politics of "the right to the city" that became vital in the broader struggles for liberation. Despite apartheid's end in 1994, Cape Town’s settlements have expanded, as new forms of dispossession associated with South African neoliberalism perpetuate relations of spatial exclusion, poverty, and racism. As Makhulu demonstrates, the efforts of black Capetonians to establish claims to a place in the city not only decisively reshaped Cape Town's geography but changed the course of history.
Making Girls into Women offers an account of the historical emergence of "the lesbian" by looking at late-nineteenth- and early-twentieth-century women's writing. Kathryn R. Kent proposes that modern lesbian identity in the United States has its roots not just, or even primarily, in sexology and medical literature, but in white, middle-class women’s culture. Kent demonstrates how, as white women's culture shifted more and more from the home to the school, workplace, and boarding house, the boundaries between the public and private spheres began to dissolve. She shows how, within such spaces, women's culture, in attempting to mold girls into proper female citizens, ended up inciting in them other, less normative, desires and identifications, including ones Kent calls "protolesbian" or queer.
Kent not only analyzes how texts represent queer erotics, but also theorizes how texts might produce them in readers. She describes the ways postbellum sentimental literature such as that written by Harriet Beecher Stowe, Louisa May Alcott, and Emma D. Kelley eroticizes, reacts against, and even, in its own efforts to shape girls’ selves, contributes to the production of queer female identifications and identities. Tracing how these identifications are engaged and critiqued in the early twentieth century, she considers works by Djuna Barnes, Gertrude Stein, Marianne Moore, and Elizabeth Bishop, as well as in the queer subject-forming effects of another modern invention, the Girl Scouts. Making Girls into Women ultimately reveals that modern lesbian identity marks an extension of, rather than a break from, nineteenth-century women’s culture.
Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial.
Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
In Making Light Raymond Knapp traces the musical legacy of German Idealism as it led to the declining prestige of composers such as Haydn while influencing the development of American popular music in the nineteenth century. Knapp identifies in Haydn and in early popular American musical cultures such as minstrelsy and operetta a strain of high camp—a mode of engagement that relishes both the superficial and serious aspects of an aesthetic experience—that runs antithetical to German Idealism's musical paradigms. By considering the disservice done to Haydn by German Idealism alongside the emergence of musical camp in American popular music, Knapp outlines a common ground: a humanistically based aesthetic of shared pleasure that points to ways in which camp receptive modes might rejuvenate the original appeal of Haydn's music that has mostly eluded audiences. In so doing, Knapp remaps the historiographical modes and systems of critical evaluation that dominate musicology while troubling the divide between serious and popular music.
How does one teach Mark Twain’s Huckleberry Finn, a book as controversial as it is central to the American literary canon? This collection of essays edited by James S. Leonard offers practical classroom methods for instructors dealing with the racism, the casual violence, and the role of women, as well as with structural and thematic discrepancies in the works of Mark Twain. The essays in Making Mark Twain Work in the Classroom reaffirm the importance of Twain in the American literature curriculum from high school through graduate study. Addressing slavery and race, gender, class, religion, language and ebonics, Americanism, and textual issues of interest to instructors and their students, the contributors offer guidance derived from their own demographically diverse classroom experiences. Although some essays focus on such works as A Connecticut Yankee in King Arthur’s Court and The Innocents Abroad, most discuss the hotly debated Adventures of Huckleberry Finn, viewed alternately in this volume as a comic masterpiece or as evidence of Twain’s growing pessimism—but always as an effective teaching tool. By placing Twain’s work within the context of nineteenth-century American literature and culture, Making Mark Twain Work in the Classroom will interest all instructors of American literature. It will also provoke debate among Americanists and those concerned with issues of race, class, and gender as they are represented in literature.
Contributors. Joseph A. Alvarez, Lawrence I. Berkove, Anthony J. Berret, S.J., Wesley Britton, Louis J. Budd, James E. Caron, Everett Carter, Jocelyn Chadwick-Joshua, Pascal Covici Jr., Beverly R. David, Victor Doyno, Dennis W. Eddings, Shelley Fisher Fishkin, S. D. Kapoor, Michael J. Kiskis, James S. Leonard, Victoria Thorpe Miller, Stan Poole, Tom Reigstad, David E. E. Sloane, David Tomlinson
Colonialism left an indelible mark on writers from the Caribbean. Many of the mid-century male writers, on the eve of independence, looked to England for their models. The current generation of authors, many of whom are women, have increasingly looked—and relocated—to the United States. Incorporating postcolonial theory, West Indian literature, feminist theory, and African American literary criticism, Making Men carves out a particular relationship between the Caribbean canon—as represented by C. L. R. James and V. S. Naipaul, among others—and contemporary Caribbean women writers such as Jean Rhys, and Jamaica Kincaid, Paule Marshall, and Michelle Cliff, who now live in the United States.
Discussing the canonical Caribbean narrative as it reflects national identity under the domination of English cultural authority, Belinda Edmondson focuses particularly on the pervasive influence of Victorian sensibilities in the structuring of twentieth-century national identity. She shows that issues of race and English constructions of masculinity not only are central to West Indian identity but also connect Caribbean authorship to the English literary tradition. This perspective on the origins of West Indian literary nationalism then informs Edmondson’s search for female subjectivity in current literature by West Indian women immigrants in America. Making Men compares the intellectual exile of men with the economic migration of women, linking the canonical male tradition to the writing of modern West Indian women and exploring how the latter write within and against the historical male paradigm in the continuing process of national definition. With theoretical claims that invite new discourse on English, Caribbean, and American ideas of exile, migration, race, gender identity, and literary authority, Making Men will be informative reading for those involved with postcolonial theory, African American and women’s studies, and Caribbean literature.
In The Making of a Human Bomb, Nasser Abufarha, a Palestinian anthropologist, explains the cultural logic underlying Palestinian martyrdom operations (suicide attacks) launched against Israel during the Al-Aqsa Intifada (2000–06). In so doing, he sheds much-needed light on how Palestinians have experienced and perceived the broader conflict. During the Intifada, many of the martyrdom operations against Israeli targets were initiated in the West Bank town of Jenin and surrounding villages. Abufarha was born and raised in Jenin. His personal connections to the area enabled him to conduct ethnographic research there during the Intifada, while he was a student at a U.S. university.
Abufarha draws on the life histories of martyrs, interviews he conducted with their families and members of the groups that sponsored their operations, and examinations of Palestinian literature, art, performance, news stories, and political commentaries. He also assesses data—about the bombers, targets, and fatalities caused—from more than two hundred martyrdom operations carried out by Palestinian groups between 2001 and 2004. Some involved the use of explosive belts or the detonation of cars; others entailed armed attacks against Israeli targets (military and civilian) undertaken with the intent of fighting until death. In addition, he scrutinized suicide attacks executed by Hamas and Islamic Jihad between 1994 and 2000. In his analysis of Palestinian political violence, Abufarha takes into account Palestinians’ understanding of the history of the conflict with Israel, the effects of containment on Palestinians’ everyday lives, the disillusionment created by the Oslo peace process, and reactions to specific forms of Israeli state violence. The Making of a Human Bomb illuminates the Palestinians’ perspective on the conflict with Israel and provides a model for ethnographers seeking to make sense of political violence.
The Making of Federal Coal Policy provides a unique record of—as well as important future perspectives on—one of the most significant ideological conflicts in national policymaking in the last decade. The management of federally owned coal, almost one-third of the U.S.'s total coal resources, has furnished an arena for the contest between energy development and environmental protection, as well as between the federal government and the states. Robert H. Nelson has written an important historical document and a useful guide for policy analysts.
The book Our Bodies, Ourselves is a feminist success story. Selling more than four million copies since its debut in 1970, it has challenged medical dogmas about women’s bodies and sexuality, shaped health care policies, energized the reproductive rights movement, and stimulated medical research on women’s health. The book has influenced how generations of U.S. women feel about their bodies and health. Our Bodies, Ourselves has also had a whole life outside the United States. It has been taken up, translated, and adapted by women across the globe, inspiring more than thirty foreign language editions.
Kathy Davis tells the story of this remarkable book’s global circulation. Based on interviews with members of the Boston Women’s Health Book Collective, the group of women who created Our Bodies, Ourselves, as well as responses to the book from readers, and discussions with translators from Latin America, Egypt, Thailand, China, Eastern Europe, Francophone Africa, and many other countries and regions, Davis shows why Our Bodies, Ourselves could never have been so influential if it had been just a popular manual on women’s health. It was precisely the book’s distinctive epistemology, inviting women to use their own experiences as resources for producing situated, critical knowledge about their bodies and health, that allowed the book to speak to so many women within and outside the United States. Davis provides a grounded analysis of how feminist knowledge and political practice actually travel, and she shows how the process of transforming Our Bodies, Ourselves offers a glimpse of a truly transnational feminism, one that joins the acknowledgment of difference and diversity among women in different locations with critical reflexivity and political empowerment.
In this important and timely collection of essays, historians reflect on the middle class: what it is, why its struggles figure so prominently in discussions of the current economic crisis, and how it has shaped, and been shaped by, modernity. The contributors focus on specific middle-class formations around the world—in Africa, Asia, Europe, the Middle East, and the Americas—since the mid-nineteenth century. They scrutinize these formations in relation to the practices of modernity, to professionalization, to revolutionary politics, and to the making of a public sphere. Taken together, their essays demonstrate that the historical formation of the middle class has been constituted transnationally through changing, unequal relationships and shifting racial and gender hierarchies, colonial practices, and religious divisions. That history raises questions about taking the robustness of the middle class as the measure of a society's stability and democratic promise. Those questions are among the many stimulated by The Making of the Middle Class, which invites critical conversation about capitalism, imperialism, postcolonialism, modernity, and our neoliberal present. Contributors. Susanne Eineigel, Michael A.Ervin, Iñigo García-Bryce, Enrique Garguin, Simon Gunn, Carol E. Harrison, Franca Iacovetta, Sanjay Joshi, Prashant Kidambi, A. Ricardo López, Gisela Mettele, Marina Moskowitz, Robyn Muncy, Brian Owensby, David S. Parker, Mrinalini Sinha, Mary Kay Vaughan, Daniel J. Walkowitz, Keith David Watenpaugh, Barbara Weinstein, Michael O. West
How do people whose entire way of life has been destroyed and who witnessed horrible abuses against loved ones construct a new future? How do people who have survived the ravages of war and displacement rebuild their lives in a new country when their world has totally changed? In Making Refuge Catherine Besteman follows the trajectory of Somali Bantus from their homes in Somalia before the onset in 1991 of Somalia’s civil war, to their displacement to Kenyan refugee camps, to their relocation in cities across the United States, to their settlement in the struggling former mill town of Lewiston, Maine. Tracking their experiences as "secondary migrants" who grapple with the struggles of xenophobia, neoliberalism, and grief, Besteman asks what humanitarianism feels like to those who are its objects and what happens when refugees move in next door. As Lewiston's refugees and locals negotiate coresidence and find that assimilation goes both ways, their story demonstrates the efforts of diverse people to find ways to live together and create community. Besteman’s account illuminates the contemporary debates about economic and moral responsibility, security, and community that immigration provokes.
In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act—claiming ownership of a musical composition—set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.
The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.
In 1996, Emma Baulch went to live in Bali to do research on youth culture. Her chats with young people led her to an enormously popular regular outdoor show dominated by local reggae, punk, and death metal bands. In this rich ethnography, she takes readers inside each scene: hanging out in the death metal scene among unemployed university graduates clad in black T-shirts and ragged jeans; in the punk scene among young men sporting mohawks, leather jackets, and hefty jackboots; and among the remnants of the local reggae scene in Kuta Beach, the island’s most renowned tourist area. Baulch tracks how each music scene arrived and grew in Bali, looking at such influences as the global extreme metal underground, MTV Asia, and the internationalization of Indonesia’s music industry.
Making Scenes is an exploration of the subtle politics of identity that took place within and among these scenes throughout the course of the 1990s. Participants in the different scenes often explained their interest in death metal, punk, or reggae in relation to broader ideas about what it meant to be Balinese, which reflected views about Bali’s tourism industry and the cultural dominance of Jakarta, Indonesia’s capital and largest city. Through dance, dress, claims to public spaces, and onstage performances, participants and enthusiasts reworked “Balinese-ness” by synthesizing global media, ideas of national belonging, and local identity politics. Making Scenes chronicles the creation of subcultures at a historical moment when media globalization and the gradual demise of the authoritarian Suharto regime coincided with revitalized, essentialist formulations of the Balinese self.
Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.
C. L. R. James's The Black Jacobins remains one of the great works of the twentieth century and the cornerstone of Haitian revolutionary studies. In Making The Black Jacobins, Rachel Douglas traces the genesis, transformation, and afterlives of James's landmark work across the decades from the 1930s on. Examining the 1938 and 1963 editions of The Black Jacobins, the 1967 play of the same name, and James's 1936 play, Toussaint Louverture—as well as manuscripts, notes, interviews, and other texts—Douglas shows how James continuously rewrote and revised his history of the Haitian Revolution as his politics and engagement with Marxism evolved. She also points to the vital significance theater played in James's work and how it influenced his views of history. Douglas shows The Black Jacobins to be a palimpsest, its successive layers of rewriting renewing its call to new generations.
In Making the Most of Mess, Emery Roe emphasizes that policy messes cannot be avoided or cleaned up; they need to be managed. He shows how policymakers and other professionals can learn these necessary skills from control operators who manage large critical infrastructures such as water supplies, telecommunications systems, and electricity grids. The ways in which they prevent major accidents and failures offer models for policymakers and other professionals to manage the messes they face.
Throughout, Roe focuses on the global financial mess of 2008 and its ongoing aftermath, showing how mismanagement has allowed it to morph into other national and international messes. More effective management is still possible for this and many other policy messes but that requires better recognition of patterns and formulation of scenarios, as well as the ability to translate pattern and scenario into reliability. Developing networks of professionals who respond to messes is particularly important. Roe describes how these networks enable the avoidance of bad or worse messes, take advantage of opportunities resulting from messes, and address societal and professional challenges. In addition to finance, he draws from a wide range of case material in other policy arenas. Roe demonstrates that knowing how to manage policy messes is the best approach to preventing crises.
Following World War II the American government and philanthropic foundations fundamentally remade American universities into sites for producing knowledge about the world as a collection of distinct nation-states. As neoliberal reforms took hold in the 1980s, visions of the world made popular within area studies and international studies found themselves challenged by ideas and educational policies that originated in business schools and international financial institutions. Academics within these institutions reimagined the world instead as a single global market and higher education as a commodity to be bought and sold. By the 1990s, American universities embraced this language of globalization, and globalization eventually became the organizing logic of higher education. In Making the World Global Isaac A. Kamola examines how the relationships among universities, the American state, philanthropic organizations, and international financial institutions created the conditions that made it possible to imagine the world as global. Examining the Center for International Studies, Harvard Business School, the World Bank, the Social Science Research Council, and NYU, Kamola demonstrates that how we imagine the world is always symptomatic of the material relations within which knowledge is produced.
When Jack London died in 1916 at age forty, he was one of the most famous writers of his time. Eighty years later he remains one of the most widely read American authors in the world. The first major critical study of London to appear in a decade, Male Call analyzes the nature of his appeal by closely examining how the struggling young writer sought to promote himself in his early work as a sympathetic, romantic man of letters whose charismatic masculinity could carry more significance than his words themselves. Jonathan Auerbach shows that London’s personal identity was not a basis of his literary success, but rather a consequence of it. Unlike previous studies of London that are driven by the author’s biography, Male Call examines how London carefully invented a trademark “self” in order to gain access to a rapidly expanding popular magazine and book market that craved authenticity, celebrity, power, and personality. Auerbach demonstrates that only one fact of London’s life truly shaped his art: his passionate desire to become a successful author. Whether imagining himself in stories and novels as a white man on trail in the Yukon, a sled dog, a tramp, or a professor; or engaging questions of manhood and mastery in terms of work, race, politics, class, or sexuality, London created a public persona for the purpose of exploiting the conventions of the publishing world and marketplace. Revising critical commonplaces about both Jack London’s work and the meaning of “nature” within literary naturalism and turn-of-the-century ideologies of masculinity, Auerbach’s analysis intriguingly complicates our view of London and sheds light on our own postmodern preoccupation with celebrity. Male Call will attract readers with an interest in American studies, American literature, gender studies, and cultural studies.
The Male Pill is the first book to reveal the history of hormonal contraceptives for men. Nelly Oudshoorn explains why it is that, although the technical feasibility of male contraceptives was demonstrated as early as the 1970s, there is, to date, no male pill. Ever since the idea of hormonal contraceptives for men was introduced, scientists, feminists, journalists, and pharmaceutical entrepreneurs have questioned whether men and women would accept a new male contraceptive if one were available. Providing a richly detailed examination of the cultural, scientific, and policy work around the male pill from the 1960s through the 1990s, Oudshoorn advances work at the intersection of gender studies and the sociology of technology.
Oudshoorn emphasizes that the introduction of contraceptives for men depends to a great extent on changing ideas about reproductive responsibility. Initial interest in the male pill, she shows, came from outside the scientific community: from the governments of China and India, which were interested in population control, and from Western feminists, who wanted the responsibilities and health risks associated with contraception shared more equally between the sexes. She documents how in the 1970s, the World Health Organization took the lead in investigating male contraceptives by coordinating an unprecedented, worldwide research network. She chronicles how the search for a male pill required significant reorganization of drug-testing standards and protocols and of the family-planning infrastructure—including founding special clinics for men, creating separate spaces for men within existing clinics, enrolling new professionals, and defining new categories of patients. The Male Pill is ultimately a story as much about the design of masculinities in the last decades of the twentieth century as it is about the development of safe and effective technologies.
Often called the “most African” part of Brazil, the northeastern state of Bahia has the country’s largest Afro-descendant population and a black culture renowned for its vibrancy. In Mama Africa, Patricia de Santana Pinho examines the meanings of Africa in Bahian constructions of blackness. Combining insights from anthropology, sociology, and cultural studies, Pinho considers how Afro-Bahian cultural groups, known as blocos afro, conceive of Africanness, blackness, and themselves in relation to both. Mama Africa is a translated, updated, and expanded edition of an award-winning book published in Brazil in 2004. Central to the book, and to Bahian constructions of blackness, is what Pinho calls “the myth of Mama Africa,” the idea that Africa exists as a nurturing spirit inside every black person.
Pinho explores how Bahian cultural production influences and is influenced by black diasporic cultures and the idealization of Africa—to the extent that Bahia draws African American tourists wanting to learn about their heritage. Analyzing the conceptions of blackness produced by the blocos afro, she describes how Africa is re-inscribed on the body through clothes, hairstyles, and jewelry; once demeaned, blackness is reclaimed as a source of beauty and pride. Turning to the body’s interior, Pinho explains that the myth of Mama Africa implies that black appearances have corresponding black essences. Musical and dance abilities are seen as naturally belonging to black people, and these traits are often believed to be transmitted by blood. Pinho argues that such essentialized ideas of blackness render black culture increasingly vulnerable to exploitation by the state and commercial interests. She contends that the myth of Mama Africa, while informing oppositional black identities, overlaps with a constraining notion of Bahianness promoted by the government and the tourist industry.
During the Khmer Rouge's brutal reign in Cambodia during the mid-to-late 1970s, a former math teacher named Duch served as the commandant of the S-21 security center, where as many as 20,000 victims were interrogated, tortured, and executed. In 2009 Duch stood trial for these crimes against humanity. While the prosecution painted Duch as evil, his defense lawyers claimed he simply followed orders. In Man or Monster? Alexander Hinton uses creative ethnographic writing, extensive fieldwork, hundreds of interviews, and his experience attending Duch's trial to create a nuanced analysis of Duch, the tribunal, the Khmer Rouge, and the after-effects of Cambodia's genocide. Interested in how a person becomes a torturer and executioner as well as the law's ability to grapple with crimes against humanity, Hinton adapts Hannah Arendt's notion of the "banality of evil" to consider how the potential for violence is embedded in the everyday ways people articulate meaning and comprehend the world. Man or Monster? provides novel ways to consider justice, terror, genocide, memory, truth, and humanity.
The Man Who Stayed Behind
Sidney Rittenberg and Amanda Bennett Duke University Press, 2001 Library of Congress HX418.8.R58A3 2001 | Dewey Decimal 951.05092
The Man Who Stayed Behind is the remarkable account of Sidney Rittenberg, an American who was sent to China by the U.S. military in the 1940s. A student activist and labor organizer who was fluent in Chinese, Rittenberg became caught up in the turbulence that engulfed China and remained there until the late 1970s. Even with access to China’s highest leaders as an American communist, however, he was twice imprisoned for a total of sixteen years. Both a memoir and a documentary history of the Chinese revolution from 1949 through the Cultural Revolution, The Man Who Stayed Behind provides a human perspective on China’s efforts to build a new society. Critical of both his own mistakes and those of the Communist leadership, Rittenberg nevertheless gives an even-handed account of a country that is now free of internal war for the first time in a hundred years.
In Managing African Portugal, Kesha Fikes shows how the final integration of Portugal’s economic institutions into the European Union (EU) in the late 1990s changed everyday encounters between African migrants and Portuguese citizens. This economic transition is examined through transformations in ideologies of difference enacted in workspaces in Lisbon between the mid-1990s and the early 2000s. Fikes evaluates shifts in racial discourse and considers how both antiracism and racism instantiate proof of Portugal’s European “conversion” and modernization.
The ethnographic focus is a former undocumented fish market that at one time employed both Portuguese and Cape Verdean women. Both groups eventually sought work in low-wage professions as maids, nannies, and restaurant-kitchen help. The visibility of poor Portuguese women as domestics was thought to undermine the appearance of Portuguese modernity; by contrast, the association of poor African women with domestic work confirmed it. Fikes argues that we can better understand how Portugal interpreted its economic absorption into the EU by attending to the different directions in which working-poor Portuguese and Cape Verdean women were routed in the mid-1990s and by observing the character of the new work relationships that developed among them. In Managing African Portugal, Fikes pushes for a study of migrant phenomena that considers not only how the enactment of citizenship by the citizen manages the migrant, but also how citizens are simultaneously governed through their uptake and assumption of new EU citizen roles.
This book reflects an important shift in society's definition of disaster. For centuries catastrophic events have been considered "acts of God" and therefore uncontrollable by definition. Managing Disaster is international in scope, covering such natural and man-made calamities as tornadoes in western Pennsylvania, earthquakes in Peru, flooding in the Netherlands, and toxic waste disasters.
Centers for hazard studies have only recently examined the interrelated aspects of disastrous events and recognized the interaction between natural hazards and human systems. As society attempts to acquire the information and develop the skills to reduce the risks and damage from disaster, an increasingly professional public service is reconsidering its strategies and policy direction. Managing Disaster addresses this problem and the need for a new approach to teaching this subject at the university level. Twenty-three professionals and scholars in public policy and administration—rom universities, government, and the private sector—examine the basic issues confronting managers and public agencies in the face of disaster.
This work contains a series of case studies of the planning phenomenon that has become known as Special Area Management (SAM)--those areas so naturally valuable, so important for human use, so sensitive to impact, or so particular in their planning requirements as to need special management treatment. Based on an examination of the SAMs, this work integrates various aspects of the process of their planning and management and proposes policy and administrative guidelines to improve SAMs as a planning tool.
With the New Deal came a dramatic expansion of the American regulatory state. Threatening to undermine many of the traditional roles of the legal system and its actors by establishing a system of administrative law, the new emphasis on federal legislation as a form of social and economic planning ushered in an era of "legal uncertainty." In this study Ronen Shamir explores how elite corporate lawyers and the American Bar Association clashed with academic legal realists over the constitutionality of the New Deal’s legislative program. Applying the insights of Weber and Bourdieu to the sociology of the legal profession, Shamir shows that elite members of the bar had a keen self-interest in blocking the expansion of administrative law. He dismisses as oversimplified the view that elite lawyers were "hired guns" who argued that New Deal legislation was unconstitutional solely because of their duty to represent their capitalist clients. Instead, Shamir suggests, their alignment with the capitalist class was an incidental result of their attempt to articulate their vision of the law as scientific, apolitical, and judicially oriented—and thereby to defend their own position within the law profession. The academic legal realists on the other side of the constitutional debates criticized the rigidity of the traditional judicial process and insisted that flexibility of interpretation and the uncertainty of legal outcomes was at the heart of the legal system. The author argues that many legal realists, encouraged by the experimental nature of the New Deal, seized an opportunity to improve on their marginal status within the legal profession by moving their discussions from academic circles to the national policy agenda.
Second edition With a new foreword by Lynton Keith Caldwell
In Managing the Environmental Crisis William R. Mangun and Daniel H. Henning provide a balanced and comprehensive guide to the management of complex environmental and natural resource policy issues. Taking into account new developments, trends, and issues that have arisen in recent years, the authors begin with the recognition, often overlooked, that it is not the environment that needs to be managed but human action relating to the environment. The authors review issues associated with a range of environmental policy concerns, including energy considerations, renewable and non renewable resource management, pollution control, wilderness management, and urban and regional policy. The history of these issues, recent actions pertaining to their management, difficulties associated with their continued presence, and the consequences of a failure to address these concerns are explored. Though focused on specific political issues, Mangun and Henning direct their attention to two large-scale trends—globalization and the political polarization of the environmental movement. At the level of the decision-making process, the incorporation of values—specifically addressed from multicultural and cross-disciplinary perspectives—is also discussed. International in scope, the book provides descriptions of the roles of both governmental and nongovernmental organizations in the formulations and implementation of national and global environmental policy. This thoroughly revised second edition discusses various successes in the arenas of environmental cooperation and management strategy while pointing to the new challenges that have emerged in the last decade.
In The Mangle of Practice (1995), the renowned sociologist of science Andrew Pickering argued for a reconceptualization of research practice as a “mangle,” an open-ended, evolutionary, and performative interplay of human and non-human agency. While Pickering’s ideas originated in science and technology studies, this collection aims to extend the mangle’s reach by exploring its application across a wide range of fields including history, philosophy, sociology, geography, environmental studies, literary theory, biophysics, and software engineering.
The Mangle in Practice opens with a fresh introduction to the mangle by Pickering. Several contributors then present empirical studies that demonstrate the mangle’s applicability to topics as diverse as pig farming, Chinese medicine, economic theory, and domestic-violence policing. Other contributors offer examples of the mangle in action: real-world practices that implement a self-consciously “mangle-ish” stance in environmental management and software development. Further essays discuss the mangle as philosophy and social theory. As Pickering argues in the preface, the mangle points to a shift in interpretive sensibilities that makes visible a world of de-centered becoming. This volume demonstrates the viability, coherence, and promise of such a shift, not only in science and technology studies, but in the social sciences and humanities more generally.
Contributors: Lisa Asplen, Dawn Coppin, Adrian Franklin, Keith Guzik, Casper Bruun Jensen,Yiannis Koutalos, Brian Marick, Randi Markussen, Andrew Pickering, Volker Scheid, Esther-Mirjam Sent, Carol Steiner, Maxim Waldstein
In this innovative analysis of the interconnections between nation and aesthetics in the United States during the late nineteenth century and the early twentieth, David A. Gerstner reveals the crucial role of early cinema in consolidating a masculine ideal under American capitalism. Gerstner describes how cinema came to be considered the art form of the New World and how its experimental qualities infused other artistic traditions (many associated with Europe—painting, literature, and even photography) with new life: brash, virile, American life. He argues that early filmmakers were as concerned with establishing cinema’s standing in relation to other art forms as they were with storytelling. Focusing on the formal dimensions of early-twentieth-century films, he describes how filmmakers drew on European and American theater, literature, and painting to forge a national aesthetic that equated democracy with masculinity.
Gerstner provides in-depth readings of several early American films, illuminating their connections to a wide range of artistic traditions and cultural developments, including dance, poetry, cubism, realism, romanticism, and urbanization. He shows how J. Stuart Blackton and Theodore Roosevelt developed The Battle Cry of Peace (1915) to disclose cinema’s nationalist possibilities during the era of the new twentieth-century urban frontier; how Paul Strand and Charles Sheeler positioned a national avant-garde through the fusion of “American Cubism” and industrialization in their film, Manhatta (1921); and how Oscar Micheaux drew on slave narratives and other African American artistic traditions as he grappled with the ideological terms of African American and white American manhood in his movie Within Our Gates (1920). Turning to Vincente Minnelli’s Cabin in the Sky (1943), Gerstner points to the emergence of an aesthetic of cultural excess that brought together white and African American cultural producers—many of them queer—and troubled the equation of national arts with masculinity.
The Manly Masquerade unravels the complex ways men were defined as men in Renaissance Italy through readings of a vast array of sixteenth- and seventeenth-century evidence: medical and travel literature; theology; law; myth; conduct books; and plays, chivalric romances, and novellas by authors including Machiavelli, Tasso, and Ariosto. Valeria Finucci shows how ideas of masculinity were formed in the midst of acute anxiety about paternity by highlighting the beliefs—widely held at the time—that conception could occur without a paternal imprimatur or through a woman’s encounter with an animal, or even that a pregnant woman’s imagination could erase the father’s "signature" from the fetus. Against these visions of reproduction gone awry, Finucci looks at how concepts of masculinity were tied to issues of paternity through social standing, legal matters, and inheritance practices.
Highlighting the fissures running through Italian Renaissance ideas of manliness, Finucci describes how, alongside pervasive images of the virile, sexually active man, early modern Italian culture recognized the existence of hermaphrodites and started to experiment with a new kind of sexuality by manufacturing a non-man: the castrato. Following the creation ofcastrati, the Church forbade the marriage of all non-procreative men, and, in this move, Finucci identifies a powerful legitimation of the view that what makes men is not the possession of male organs or the ability to have sex, but the capability to father. Through analysis, anecdote, and rich cultural description, The Manly Masquerade exposes the "real" early modern man: the paterfamilias.
If not for the reproductive functions of women, would there be anything called women’s health care? A review of medical literature, practice, and policy in this country would suggest that the answer is no. Offering a startling view of the current state of health care for women in the United States and laying the foundation for a new, widely defined women’s medicine, Man-Made Medicine makes an urgent statement about gender bias in the medical establishment and its pernicious effects on the well-being of women and the care they receive. These essays by physicians, lawyers, activists, and scholars present a rare interdisciplinary approach to a complex set of issues. Gender stereotyping and bias in the collection, analysis, and reporting of scientific data and in the ways health-related news is covered by the media are examined. The exclusion of women from the health care policy-making process and the effect such exclusion has on the determination of priorities among potential areas of research are also explored. With discussions of the plight of specific populations of women whose health care needs are not being sufficiently met—for example, immigrants, prisoners, the mentally ill, or women with HIV/AIDS, disabilities, or reproductive health problems—this book considers matters of race and class within the parameters of gender as it builds a fundamental challenge to the existing health care system. A range of current reform proposals are also evaluated in terms of their potential impact on women. Suggesting no less than a radical rethinking of women’s medicine, Man-Made Medicine gives essential direction to the discussions that will shape the future of health care in this country. It will be of great interest to a wide audience, including health care advocates, policymakers, scholars, and readers generally concerned with women’s health issues.
Contributors. Ellen Barry, Laurie Beck, Joan Bertin, Janet Calvo, Wendy Chavkin, Kay Dickersin, Abigail English, Elizabeth Fee, Carol Gill, Nancy Krieger, Joyce McConnell, Judy Norsigian, Ann Scales, Susan Stefan, Lauren Schnaper, Catherine Teare
Could it be that the familiar and beloved figure of Confucius was invented by Jesuit priests? In Manufacturing Confucianism, Lionel M. Jensen reveals this very fact, demonstrating how sixteenth- and seventeenth-century Western missionaries used translations of the ancient ru tradition to invent the presumably historical figure who has since been globally celebrated as philosopher, prophet, statesman, wise man, and saint. Tracing the history of the Jesuits’ invention of Confucius and of themselves as native defenders of Confucius’s teaching, Jensen reconstructs the cultural consequences of the encounter between the West and China. For the West, a principal outcome of this encounter was the reconciliation of empirical investigation and theology on the eve of the scientific revolution. Jensen also explains how Chinese intellectuals in the early twentieth century fashioned a new cosmopolitan Chinese culture through reliance on the Jesuits’ Confucius and Confucianism. Challenging both previous scholarship and widespread belief, Jensen uses European letters and memoirs, Christian histories and catechisms written in Chinese, translations and commentaries on the Sishu, and a Latin summary of Chinese culture known as the Confucius Sinarum Philosophus to argue that the national self-consciousness of Europe and China was bred from a cultural ecumenism wherein both were equal contributors.
Emphasizing how modes of book production, promotion, and consumption shape ideas of literary value, Edward Mack examines the role of Japan’s publishing industry in defining modern Japanese literature. In the late nineteenth century and early twentieth, as cultural and economic power consolidated in Tokyo, the city’s literary and publishing elites came to dominate the dissemination and preservation of Japanese literature. As Mack explains, they conferred cultural value on particular works by creating prizes and multivolume anthologies that signaled literary merit. One such anthology, the Complete Works of Contemporary Japanese Literature (published between 1926 and 1931), provided many readers with their first experience of selected texts designated as modern Japanese literature. The low price of one yen per volume allowed the series to reach hundreds of thousands of readers. An early prize for modern Japanese literature, the annual Akutagawa Prize, first awarded in 1935, became the country’s highest-profile literary award. Mack chronicles the history of book production and consumption in Japan, showing how advances in technology, the expansion of a market for literary commodities, and the development of an extensive reading community enabled phenomena such as the Complete Works of Contemporary Japanese Literature and the Akutagawa Prize to manufacture the very concept of modern Japanese literature.
Throughout this lively and concise historical account of Mao Zedong’s life and thought, Rebecca E. Karl places the revolutionary leader’s personal experiences, social visions and theory, military strategies, and developmental and foreign policies in a dynamic narrative of the Chinese revolution. She situates Mao and the revolution in a global setting informed by imperialism, decolonization, and third worldism, and discusses worldwide trends in politics, the economy, military power, and territorial sovereignty. Karl begins with Mao’s early life in a small village in Hunan province, documenting his relationships with his parents, passion for education, and political awakening during the fall of the Qing dynasty in late 1911. She traces his transition from liberal to Communist over the course of the next decade, his early critiques of the subjugation of women, and the gathering force of the May 4th movement for reform and radical change. Describing Mao’s rise to power, she delves into the dynamics of Communist organizing in an overwhelmingly agrarian society, and Mao’s confrontations with Chiang Kaishek and other nationalist conservatives. She also considers his marriages and romantic liaisons and their relation to Mao as the revolutionary founder of Communism in China. After analyzing Mao’s stormy tenure as chairman of the People’s Republic of China, Karl concludes by examining his legacy in China from his death in 1976 through the Beijing Olympics in 2008.
Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world.
Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
Three flags fly in the palace courtyard of Òyótúnjí African Village. One represents black American emancipation from slavery, one black nationalism, and the third the establishment of an ancient Yorùbá Empire in the state of South Carolina. Located sixty-five miles southwest of Charleston, Òyótúnjí is a Yorùbá revivalist community founded in 1970. Mapping Yorùbá Networks is an innovative ethnography of Òyótúnjí and a theoretically sophisticated exploration of how Yorùbá òrìsà voodoo religious practices are reworked as expressions of transnational racial politics. Drawing on several years of multisited fieldwork in the United States and Nigeria, Kamari Maxine Clarke describes Òyótúnjí in vivid detail—the physical space, government, rituals, language, and marriage and kinship practices—and explores how ideas of what constitutes the Yorùbá past are constructed. She highlights the connections between contemporary Yorùbá transatlantic religious networks and the post-1970s institutionalization of roots heritage in American social life.
Examining how the development of a deterritorialized network of black cultural nationalists became aligned with a lucrative late-twentieth-century roots heritage market, Clarke explores the dynamics of Òyótúnjí Village’s religious and tourist economy. She discusses how the community generates income through the sale of prophetic divinatory consultations, African market souvenirs—such as cloth, books, candles, and carvings—and fees for community-based tours and dining services. Clarke accompanied Òyótúnjí villagers to Nigeria, and she describes how these heritage travelers often returned home feeling that despite the separation of their ancestors from Africa as a result of transatlantic slavery, they—more than the Nigerian Yorùbá—are the true claimants to the ancestral history of the Great Òyó Empire of the Yorùbá people. Mapping Yorùbá Networks is a unique look at the political economy of homeland identification and the transnational construction and legitimization of ideas such as authenticity, ancestry, blackness, and tradition.
With Volume XI: The Caribbean Diaspora, 1910–1920, Duke University Press proudly assumes publication of the final volumes of The Marcus Garvey and Universal Negro Improvement Association Papers. This invaluable archival project documents the impact and spread of the Universal Negro Improvement Association (UNIA), the organization founded by Marcus Garvey in 1914 and led by him until his death in 1940. Volume XI is the first to focus on the Caribbean, where the UNIA was represented by more than 170 divisions and chapters. Revealing the connections between the major African-American mass movement of the interwar era and the struggle of the Caribbean people for independence, this volume includes the letters, speeches, and writings of Caribbean Garveyites and their opponents, as well as documents and speeches by Garvey, newspaper articles, colonial correspondence and memoranda, and government investigative records. Volume XI covers the period from 1911, when a controversy was ignited in Limon, Costa Rica, in response to a letter that Garvey sent to the Limon Times, until 1920, when workers on the Panama Canal undertook a strike sponsored in part by the UNIA. The primary documents are extensively annotated, and the volume includes twenty-two critical commentaries on the territories covered in the book, from the Bahamas to Guatemala, and Haiti to Brazil. A trove of scholarly resources, Volume XI: The Caribbean Diaspora, 1910–1920 illuminates another chapter in the history of one the world’s most important social movements.
Praise for the Previous Volumes: “The Marcus Garvey and Universal Negro Improvement Association Papers will take its place among the most important records of the Afro-American experience. . . . ‘The Marcus Garvey Papers’ lays the groundwork for a long overdue reassessment of Marcus Garvey and the legacy of racial pride, nationalism and concern with Africa he bequeathed to today’s black community.”—Eric Foner, the New York Times Book Review
“Until the publication of The Marcus Garvey and Universal Negro Improvement Association Papers, many of the documents necessary for a full assessment of Garvey’s thought or of his movement’s significance have not been easily accessible. Robert A. Hill and his staff . . . have gathered over 30,000 documents from libraries and other sources in many countries. . . . The Garvey papers will reshape our understanding of the history of black nationalism and perhaps increase our understanding of contemporary black politics.”—Clayborne Carson, the Nation
“Now is our chance, through these important volumes, to finally begin to come to terms with the significance of Garvey’s complex, fascinating career and the meaning of the movement he built.”—Lawrence W. Levine, the New Republic
Volume XII of the Marcus Garvey and Universal Negro Improvement Association Papers covers a period of twelve months, from the opening of the UNIA's historic first international convention in New York, in August 1920, to Marcus Garvey's return to the United States in July 1921 after an extended tour of Cuba, Jamaica, Panama, Costa Rica, and Belize. In many ways the 1920 convention marked the high-point of the Garvey movement in the United States, while Garvey's tour of the Caribbean, in the winter and spring of 1921, registered the greatest outpouring of popular support for the UNIA in its history. The period covered in the present volume was the moment of the movement's political apotheosis, as well as the moment when the finances of Garvey's Black Star Line went into free fall.
Volume XII highlights the centrality of the Caribbean people not only to the convention, but also to the movement. The reports to the convention discussed the range of social and economic conditions obtaining in the Caribbean, particularly their impact on racial conditions. The quality of the discussions and debates were impressive. Contained in these reports are some of the earliest and most clearly enunciated statements in defense of social and political freedom in the Caribbean. These documents form an underappreciated and still underutilized record of the political awakening of Caribbean people of African descent.
Volume XIII of The Marcus Garvey and Universal Negro Improvement Association Papers covers the twelve months between the UNIA's second international convention in New York in August 1921 and the third convention in August 1922. It was a particularly tumultuous time for Garvey and the UNIA: Garvey’s relationship with the UNIA's top leadership began to fracture, the U.S. federal government charged Garvey with mail fraud, and his Black Star Line operation suffered massive financial losses. This period also witnessed a marked shift in Garvey's rhetoric and stance, as he retreated from his previously radical anticolonial positions, sought to court European governments as well as the leadership of the Ku Klux Klan, and moved against his political rivals.
Despite these difficult and uncertain times, Garveyism expanded its reach throughout the Caribbean archipelago, which, as Volume XIII confirms, became the UNIA's de facto home in the early 1920s. The volume's numerous reports from the UNIA's Caribbean divisions and chapters describe what it was like for UNIA activists living and working under extremely repressive circumstances. The volume's major highlight covers the U.S. military's crackdown on the UNIA in the Dominican Republic, as documented in the correspondence between John Sydney de Bourg—whom Garvey had dispatched to monitor the situation—and U.S. and British government officials.
In addition to UNIA divisional reports and de Bourg's extensive correspondence, Volume XIII contains a wealth of newspaper articles, political tracts, official documents, and other sources that outline the complex responses to Garveyism throughout the United States, the Caribbean, and Europe, all the while documenting this watershed moment for Garvey and the UNIA.
Margaret Mead Made Me Gay is the intellectual autobiography of cultural anthropologist Esther Newton, a pioneer in gay and lesbian studies. Chronicling the development of her ideas from the excitement of early feminism in the 1960s to friendly critiques of queer theory in the 1990s, this collection covers a range of topics such as why we need more precise sexual vocabularies, why there have been fewer women doing drag than men, and how academia can make itself more hospitable to queers. It brings together such classics as “The Mythic Mannish Lesbian” and “Dick(less) Tracy and the Homecoming Queen” with entirely new work such as “Theater: Gay Anti-Church.” Newton’s provocative essays detail a queer academic career while offering a behind-the-scenes view of academic homophobia. In four sections that correspond to major periods and interests in her life—”Drag and Camp,” “Lesbian-Feminism,” “Butch,” and “Queer Anthropology”—the volume reflects her successful struggle to create a body of work that uses cultural anthropology to better understand gender oppression, early feminism, theatricality and performance, and the sexual and erotic dimensions of fieldwork. Combining personal, theoretical, and ethnographic perspectives, Margaret Mead Made Me Gay also includes photographs from Newton’s personal and professional life. With wise and revealing discussions of the complex relations between experience and philosophy, the personal and the political, and identities and practices, Margaret Mead Made Me Gay is important for anyone interested in the birth and growth of gay and lesbian studies.
"No more passionate voice ever sounded in Russian poetry of the 20th century," Joseph Brodsky writes of Marina Tsvetaeva. And yet Western readers are only now starting to discover what Tsvetaeva’s Russian audience has already recognized, "that she was one of the major poetic voices of the century" (Tomas Venclova, The New Republic). Born to a family of Russian intelligentsia in 1892 and coming of age in the crucible of revolution and war, Tsvetaeva has been seen as a victim of her politicized time, her life and her work marked by exile, neglect, and persecution. This book is the first to show us the poet as she discovered her life through art, shaped as much by inner demons as by the political forces and harsh realities of her day. With remarkable psychological and literary subtlety, Lily Feiler traces these demons through the tragic drama of Tsvetaeva’s life and poetry. Hers is a story full of contradictions, resisting social and literary conventions but enmeshed in the politics and poetry of her time. Feiler depicts the poet in her complex relation to her contemporaries—Pasternak, Rilke, Mayakovsky, Mandelstam, and Akhmatova. She shows us a woman embodying the values of nineteenth-century romanticism, yet radical in her poetry, supremely independent in her art, but desperate for appreciation and love, simultaneously mother and child in her complicated sexual relationships with men and women. From prerevolutionary Russia to Red Moscow, from pre-World War II Berlin, Prague, and Paris to the Soviet Union under Stalin, Feiler follows the tortuous drama of Tsvetaeva’s life and work to its last tragic act, exposing at each turn the passions that molded some of this century’s most powerful poetry.
This collection seeks to place Pudd’nhead Wilson—a neglected, textually fragmented work of Mark Twain’s—in the context of contemporary critical approaches to literary studies. The editors’ introduction argues the virtues of using Pudd’nhead Wilson as a teaching text, a case study in many of the issues presently occupying literary criticism: issues of history and the uses of history, of canon formation, of textual problematics, and finally of race, class, and gender.
In a variety of ways the essays build arguments out of, not in spite of, the anomalies, inconsistencies, and dead ends in the text itself. Such wrinkles and gaps, the authors find, are the symptoms of an inconclusive, even evasive, but culturally illuminating struggle to confront and resolve difficult questions bearing on race and sex. Such fresh, intellectually enriching perspectives on the novel arise directly from the broad-based interdisciplinary foundations provided by the participating scholars. Drawing on a wide variety of critical methodologies, the essays place the novel in ways that illuminate the world in which it was produced and that further promise to stimulate further study.
Contributors. Michael Cowan, James M. Cox, Susan Gillman, Myra Jehlen, Wilson Carey McWilliams, George E. Marcus, Carolyn Porter, Forrest Robinson, Michael Rogin, John Carlos Rowe, John Schaar, Eric Sundquist
Edna Andrews Duke University Press, 1990 Library of Congress P299.M35A5 1990 | Dewey Decimal 401.41
Edna Andrews clarifies and extends the work of Roman Jakobson to develop a theory of invariants in language by distinguishing between general and contextual meaning in morphology and semantics. Markedness theory, as Jakobson conceived it, is a qualitative theory of oppositional binary relations. Andrews shows how markedness theory enables a linguist to precisely define the systemically given oppositions and hierarchies represented by linguistic categories. In addition, she redefines the relationship between Jakobsonian markedness theory and Peircean interpretants. Though primarily theoretical, the argument is illustrated with discussions about learning a second language, the relationship of linguistics to mathematics (particularly set theory, algebra, topology, and statistics) in their mutual pursuit of invariance, and issues involving grammatical gender and their implications in several languages.
What happens when the market tries to help the poor? In many parts of the world today, neoliberal development programs are offering ordinary people the tools of free enterprise as the means to well-being and empowerment. Schemes to transform the poor into small-scale entrepreneurs promise them the benefits of the market and access to the rewards of globalization. Markets of Dispossession is a theoretically sophisticated and sobering account of the consequences of these initiatives.
Julia Elyachar studied the efforts of bankers, social scientists, ngo members, development workers, and state officials to turn the craftsmen and unemployed youth of Cairo into the vanguard of a new market society based on microenterprise. She considers these efforts in relation to the alternative notions of economic success held by craftsmen in Cairo, in which short-term financial profit is not always highly valued. Through her careful ethnography of workshop life, Elyachar explains how the traditional market practices of craftsmen are among the most vibrant modes of market life in Egypt. Long condemned as backward, these existing market practices have been seized on by social scientists and development institutions as the raw materials for experiments in “free market” expansion. Elyachar argues that the new economic value accorded to the cultural resources and social networks of the poor has fueled a broader process leading to their economic, social, and cultural dispossession.
Markets of Sorrow, Labors of Faith is an ethnographic account of long-term recovery in post-Katrina New Orleans. It is also a sobering exploration of the privatization of vital social services under market-driven governance. In the wake of Hurricane Katrina, public agencies subcontracted disaster relief to private companies that turned the humanitarian work of recovery into lucrative business. These enterprises profited from the very suffering that they failed to ameliorate, producing a second-order disaster that exacerbated inequalities based on race and class and leaving residents to rebuild almost entirely on their own.
Filled with the often desperate voices of residents who returned to New Orleans, Markets of Sorrow, Labors of Faith describes the human toll of disaster capitalism and the affect economy it has produced. While for-profit companies delayed delivery of federal resources to returning residents, faith-based and nonprofit groups stepped in to rebuild, compelled by the moral pull of charity and the emotional rewards of volunteer labor. Adams traces the success of charity efforts, even while noting an irony of neoliberalism, which encourages the very same for-profit companies to exploit these charities as another market opportunity. In so doing, the companies profit not once but twice on disaster.
An innovative cultural history of the evolution of modern marriage practices in Bengal, Marriage and Modernity challenges the assumption that arranged marriage is an antiquated practice. Rochona Majumdar demonstrates that in the late colonial period Bengali marriage practices underwent changes that led to a valorization of the larger, intergenerational family as a revered, “ancient” social institution, with arranged marriage as the apotheosis of an “Indian” tradition. She meticulously documents the ways that these newly embraced “traditions”—the extended family and arranged marriage—entered into competition and conversation with other emerging forms of kinship such as the modern unit of the couple, with both models participating promiscuously in the new “marketplace” for marriages, where matrimonial advertisements in the print media and the payment of dowry played central roles. Majumdar argues that together the kinship structures newly asserted as distinctively Indian and the emergence of the marriage market constituted what was and still is modern about marriages in India.
Majumdar examines three broad developments related to the modernity of arranged marriage: the growth of a marriage market, concomitant debates about consumption and vulgarity in the conduct of weddings, and the legal regulation of family property and marriages. Drawing on matrimonial advertisements, wedding invitations, poems, photographs, legal debates, and a vast periodical literature, she shows that the modernization of families does not necessarily imply a transition from extended kinship to nuclear family structures, or from matrimonial agreements negotiated between families to marriage contracts between individuals. Colonial Bengal tells a very different story.
Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the monochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's "achromes" as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the economic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the monochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's economic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Autonomia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.
Widely regarded as one of the most important and influential sports books of all time, C. L. R. James's Beyond a Boundary is—among other things—a pioneering study of popular culture, an analysis of resistance to empire and racism, and a personal reflection on the history of colonialism and its effects in the Caribbean. More than fifty years after the publication of James's classic text, the contributors to Marxism, Colonialism, and Cricket investigate Beyond a Boundary's production and reception and its implication for debates about sports, gender, aesthetics, race, popular culture, politics, imperialism, and English and Caribbean identity. Including a previously unseen first draft of Beyond a Boundary's conclusion alongside contributions from James's key collaborator Selma James and from Michael Brearley, former captain of the English Test cricket team, Marxism, Colonialism, and Cricket provides a thorough and nuanced examination of James's groundbreaking work and its lasting impact.
Contributors. Anima Adjepong, David Austin, Hilary McD. Beckles, Michael Brearley, Selwyn R. Cudjoe, David Featherstone, Christopher Gair, Paget Henry, Christian Høgsbjerg, C. L. R. James, Selma James, Roy McCree, Minkah Makalani, Clem Seecharan, Andrew Smith, Neil Washbourne, Claire Westall
Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.
Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.
Nelly Richard is one of the most prominent cultural theorists writing in Latin America today. As a participant in Chile’s neo-avantgarde, Richard worked to expand the possibilities for cultural debate within the constraints imposed by the Pinochet dictatorship (1973–1990), and she has continued to offer incisive commentary about the country’s transition to democracy. Well known as the founder and director of the influential Santiago-based journal Revista de crítica cultural, Richard has been central to the dissemination throughout Latin America of work by key contemporary thinkers, including Néstor García Canclini, Jacques Derrida, Fredric Jameson, and Diamela Eltit. Her own writing provides rigorous considerations of Latin American identity, postmodernism, gender, neoliberalism, and strategies of political and cultural resistance.
Richard helped to organize the 1987 International Conference on Latin American Women’s Literature in Santiago, one of the most significant literary events to take place under the Pinochet dictatorship. Published in Chile in 1993, Masculine/Feminine develops some of the key issues brought to the fore during that landmark meeting. Richard theorizes why the feminist movement has been crucial not only to the liberation of women but also to understanding the ways in which power operated under the military regime in Chile. In one of her most widely praised essays, she explores the figure of the transvestite, artistic imagery of which exploded during the Chilean dictatorship. She examines the politics and the aesthetics of this phenomenon, particularly against the background of prostitution and shantytown poverty, and she argues that gay culture works to break down the social demarcations and rigid structures of city life. Masculine/Feminine makes available, for the first time in English, one of Latin America’s most significant works of feminist theory.
In Masculinity Besieged? Xueping Zhong looks at Chinese literature and films produced during the 1980s to examine male subjectivities in contemporary China. Reading through a feminist psychoanalytic lens, Zhong argues that understanding the nature of male subjectivities as portrayed in literature and film is crucial to understanding China’s ongoing quest for modernity. Before the 1990s onslaught of popular culture decentered the role of intellectuals within the nation, they had come to embody Chinese masculinity during the previous decade. The focus on masculinity in literature had become unprecedented in scale and the desire for “real men” began to permeate Chinese popular culture, making icons out of Rambo and Takakura Ken. Stories by Zhang Xianliang and Liu Heng portraying male anxiety about masculine sexuality are employed by Zhong to show how “marginal” males negotiate their sexual identities in relation to both women and the state. Looking at writers popular among not only the well-educated but also the working and middle classes, she discusses works by Han Shaogong, Yu Hua, and Wang Shuo and examines instances of self-loathing male voices, particularly as they are articulated in Mo Yan’s well-known work Red Sorghum. In her last chapter Zhong examines “roots literature,” which speaks of the desire to create strong men as a part of the effort to create a geopolitically strong Chinese nation. In an afterword, Zhong situates her study in the context of the 1990s. This book will be welcomed by scholars of Chinese cultural studies, as well as in literary and gender studies.
A Master on the Periphery of Capitalism is a translation (from the original Portuguese) of Roberto Schwarz’s renowned study of the work of Brazilian novelist Machado de Assis (1839–1908). A leading Brazilian theorist and author of the highly influential notion of “misplaced ideas,” Schwarz focuses his literary and cultural analysis on Machado’s The Posthumous Memoirs of Brás Cubas, which was published in 1880. Writing in the Marxist tradition, Schwarz investigates in particular how social structure gets internalized as literary form, arguing that Machado’s style replicates and reveals the deeply embedded class divisions of nineteenth-century Brazil. Widely acknowledged as the most important novelist to have written in Latin America before 1940, Machado had a surprisingly modern style. Schwarz notes that the unprecedented wit, sarcasm, structural inventiveness, and mercurial changes of tone and subject matter found in The Posthumous Memoirs of Brás Cubas marked a crucial moment in the history of Latin American literature. He argues that Machado’s vanguard narrative reflects the Brazilian owner class and its peculiar status in both national and international contexts, and shows why this novel’s success was no accident. The author was able to confront some of the most prestigious ideologies of the nineteenth century with some uncomfortable truths, not the least of which was that slavery remained the basis of the Brazilian economy. A Master on the Periphery of Capitalism will appeal to those with interests in Latin American literature, nineteenth century history, and Marxist literary theory.
Mastering Discourse gathers and elaborates more than a decade of thought on the problems of the intellectual in contemporary society, by one of the most distinguished critics writing on these issues today. From Derrida and Foucault to Kristeva and Irigaray, Paul A. Bové looks at the practices of literary and cultural theory, and discusses the way theorists have produced their institutional positions and politics. Examining some of the major theories developed out of and in relation to the problems of discourse, Bové analyzes the limited successes and failures of these efforts. Mastering Discourses offers an account of why "theory" fails to deal adequately with the politics of discursive cultures and warns that unless critics take much more seriously their own disciplinary inscriptions they will always reproduce structures of power and knowledge that they claim to oppose. Moreover, Bové argues, they will not fulfill the main role of the post-enlightenment intellectual, namely: to respond effectively to the present, through new theoretical and historical formulations that address the changing world of transnational capitalism and its neoliberal ideologies.
Daniel Miller, ed. Duke University Press, 2005 Library of Congress GN406.M38 2005 | Dewey Decimal 306.46
Throughout history and across social and cultural contexts, most systems of belief—whether religious or secular—have ascribed wisdom to those who see reality as that which transcends the merely material. Yet, as the studies collected here show, the immaterial is not easily separated from the material. Humans are defined, to an extraordinary degree, by their expressions of immaterial ideals through material forms. The essays in Materiality explore varied manifestations of materiality from ancient times to the present. In assessing the fundamental role of materiality in shaping humanity, they signal the need to decenter the social within social anthropology in order to make room for the material.
Considering topics as diverse as theology, technology, finance, and art, the contributors—most of whom are anthropologists—examine the many different ways in which materiality has been understood and the consequences of these differences. Their case studies show that the latest forms of financial trading instruments can be compared with the oldest ideals of ancient Egypt, that the promise of software can be compared with an age-old desire for an unmediated relationship to divinity. Whether focusing on the theology of Islamic banking, Australian Aboriginal art, derivatives trading in Japan, or textiles that respond directly to their environment, each essay adds depth and nuance to the project that Materiality advances: a profound acknowledgment and rethinking of one of the basic properties of being human.
Contributors. Matthew Engelke, Webb Keane, Susanne Küchler, Bill Maurer, Lynn Meskell, Daniel Miller, Hirokazu Miyazaki, Fred Myers, Christopher Pinney, Michael Rowlands, Nigel Thrift
For the most part, democracy is simply presumed to exist in the United States. It is viewed as a completed project rather than as a goal to be achieved. Fifteen leading scholars challenge that stasis in Materializing Democracy. They aim to reinvigorate the idea of democracy by placing it in the midst of a contentious political and cultural fray, which, the volume’s editors argue, is exactly where it belongs. Drawing on literary criticism, cultural studies, history, legal studies, and political theory, the essays collected here highlight competing definitions and practices of democracy—in politics, society, and, indeed, academia.
Covering topics ranging from rights discourse to Native American performance, from identity politics to gay marriage, and from rituals of public mourning to the Clinton-Lewinsky affair, the contributors seek to understand the practices, ideas, and material conditions that enable or foreclose democracy’s possibilities. Through readings of subjects as diverse as Will Rogers, Alexis de Tocqueville, slave narratives, interactions along the Texas-Mexico border, and liberal arts education, the contributors also explore ways of making democracy available for analysis. Materializing Democracy suggests that attention to disparate narratives is integral to the development of more complex, vibrant versions of democracy.
Contributors. Lauren Berlant, Wendy Brown, Chris Castiglia, Russ Castronovo, Joan Dayan, Wai Chee Dimock, Lisa Duggan, Richard R. Flores, Kevin Gaines, Jeffrey C. Goldfarb, Michael Moon, Dana D. Nelson, Christopher Newfield, Donald E. Pease
Stendhal, George Sand, Rachilde, Georges Bataille: Forgoing the patronym, with its weight of meaning, these modern French writers renamed themselves in their work. Their use of pseudonyms, as Maryline Lukacher demonstrates in this provocative study, is part of a process to subvert the name of the father and explore the suppressed relation to the figure of the mother. Combining psychoanalytic criticism, feminist theory, and literary analysis, Maternal Fictions offers a complex psychological portrait of these writers who managed at once to challenge patriarchal authority and at the same time attempt to return to the maternal. Through readings of Armance, Le Rouge et le noir, La Vie de Henry Brulard, and Les Cenci, Lukacher exposes Stendhal's preoccupation with his dead mother, who is obsessively retrieved throughout his work. George Sand's identity is, in effect, divided between two mothers, her biological mother and her grandmother, and in Histoire de ma vie,Indiana, and Mauprat, we see the writer's efforts to break the impasse created by this divided identity. In the extraordinary but too little known work of Rachilde (Marguerite Eymery), Lukacher finds the maternal figure identified as the secret inner force of patriarchal oppression. This resistance to feminism continues in the pseudonymous work of Georges Bataille. In Ma mère, Le coupable, and L’Expérience intérieure Lukacher traces Bataille’s representation of the mother as a menacing, ever subversive figure who threatens basic social configurations. Maternal Fictions establishes a new pseudonymous genealogy in modern French writing that will inform and advance our understanding of the act of self-creation that occurs in fiction.
Mathematics, Science, and Postclassical Theory is a unique collection of essays dealing with the intersections between science and mathematics and the radical reconceptions of knowledge, language, proof, truth, and reality currently emerging from poststructuralist literary theory, constructivist history and sociology of science, and related work in contemporary philosophy. Featuring a distinguished group of international contributors, this volume engages themes and issues central to current theoretical debates in virtually all disciplines: agency, causality, determinacy, representation, and the social dynamics of knowledge. In a substantive introductory essay, the editors explain the notion of "postclassical theory" and discuss the significance of ideas such as emergence and undecidability in current work in and on science and mathematics. Other essays include a witty examination of the relations among mathematical thinking, writing, and the technologies of virtual reality; an essay that reconstructs the conceptual practices that led to a crucial mathematical discovery—or construction—in the 19th century; a discussion of the implications of Bohr’s complementarity principle for classical ideas of reality; an examination of scientific laboratories as "hybrid" communities of humans and nonhumans; an analysis of metaphors of control, purpose, and necessity in contemporary biology; an exploration of truth and lies, and the play of words and numbers in Shakespeare, Frege, Wittgenstein, and Beckett; and a final chapter on recent engagements, or nonengagements, between rationalist/realist philosophy of science and contemporary science studies.
Contributors. Malcolm Ashmore, Michel Callon, Owen Flanagan, John Law, Susan Oyama, Andrew Pickering, Arkady Plotnitsky, Brian Rotman, Barbara Herrnstein Smith, John Vignaux Smyth, E. Roy Weintraub
It is not only the past that lies in ruins in Patna, it is also the present. But that is not the only truth about the city that Amitava Kumar explores in this vivid, entertaining account of his hometown. We accompany him through many Patnas, the myriad cities locked within the city—the shabby reality of the present-day capital of Bihar; Pataliputra, the storied city of emperors; the dreamlike embodiment of the city in the minds and hearts of those who have escaped contemporary Patna's confines. Full of fascinating observations and impressions, A Matter of Rats reveals a challenging and enduring city that exerts a lasting pull on all those who drift into its orbit.
Kumar's ruminations on one of the world's oldest cities, the capital of India's poorest province, are also a meditation on how to write about place. His memory is partial. All he has going for him is his attentiveness. He carefully observes everything that surrounds him in Patna: rats and poets, artists and politicians, a girl's picture in a historian's study, and a sheet of paper on his mother's desk. The result is this unique book, as cutting as it is honest.
The headlong rush, the rapid montage, the soaring superhero, the plunging roller coaster—Matters of Gravity focuses on the experience of technological spectacle in American popular culture over the past century. In these essays, leading media and cultural theorist Scott Bukatman reveals how popular culture tames the threats posed by technology and urban modernity by immersing people in delirious kinetic environments like those traversed by Plastic Man, Superman, and the careening astronauts of 2001: A Space Odyssey and The Right Stuff. He argues that as advanced technologies have proliferated, popular culture has turned the attendant fear of instability into the thrill of topsy-turvydom, often by presenting images and experiences of weightless escape from controlled space.
Considering theme parks, cyberspace, cinematic special effects, superhero comics, and musical films, Matters of Gravity highlights phenomena that make technology spectacular, permit unfettered flights of fantasy, and free us momentarily from the weight of gravity and history, of past and present. Bukatman delves into the dynamic ways pop culture imagines that apotheosis of modernity: the urban metropolis. He points to two genres, musical films and superhero comics, that turn the city into a unique site of transformative power. Leaping in single bounds from lively descriptions to sharp theoretical insights, Matters of Gravity is a deft, exhilarating celebration of the liberatory effects of popular culture.
Maturing Masculinities is a nuanced exploration of how older men in urban Mexico incorporate aging, chronic illness, changing social relationships, and decreasing erectile function into their conceptions of themselves as men. It is based on interviews that Emily A. Wentzell conducted with more than 250 male patients in the urology clinic of a government-run hospital in Cuernavaca. Drawing on science studies, medical anthropology, and gender theory, Wentzell suggests the idea of "composite masculinities" as a paradigm for understanding how men incorporate physical and social change into gendered selfhoods.
Erectile dysfunction treatments like Viagra are popular in Mexico, where stereotypes of men as sex-obsessed "machos" persist. However, most of the men Wentzell interviewed saw erectile difficulty as a chance to demonstrate difference from this stereotype. Rather than using drugs to continue youthful sex lives, many collaborated with wives and physicians to frame erectile difficulty as a prompt to embody age-appropriate, mature masculinities.
In The Mayan in the Mall, J. T. Way traces the creation of modern Guatemala from the 1920s to the present through a series of national and international development projects. Way shows that, far from being chronically underdeveloped, this nation of stark contrasts—where shopping malls and multinational corporate headquarters coexist with some of the Western Hemisphere's poorest and most violent slums—is the embodiment of globalized capitalism.
Using a wide array of historical and contemporary sources, Way explores the multiple intersections of development and individual life, focusing on the construction of social space through successive waves of land reform, urban planning, and economic policy. His explorations move from Guatemala City's poorest neighborhoods and informal economies (run predominantly by women) to a countryside still recovering from civil war and anti-Mayan genocide, and they encompass such artifacts of development as the modernist Pan-American Highway and the postmodern Grand Tikal Futura, a Mayan-themed shopping mall ringed by gated communities and shantytowns. Capitalist development, Way concludes, has dramatically reshaped the country's physical and social landscapes—engendering poverty, ethnic regionalism, and genocidal violence—and positioned Guatemala as a harbinger of globalization's future.
The last sixteen years of James Baldwin's life (1971–87) unfolded in a village in the South of France, in a sprawling house nicknamed “Chez Baldwin.” In Me and My House Magdalena J. Zaborowska employs Baldwin’s home space as a lens through which to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity in his complex and underappreciated later works. Zaborowska shows how the themes of dwelling and black queer male sexuality in The Welcome Table, Just above My Head, and If Beale Street Could Talk directly stem from Chez Baldwin's influence on the writer. The house was partially torn down in 2014. Accessible, heavily illustrated, and drawing on interviews with Baldwin's friends and lovers, unpublished letters, and manuscripts, Me and My House offers new insights into Baldwin's life, writing, and relationships, making it essential reading for all students, scholars, and fans of Baldwin.
M/E/A/N/I/N/G brings together essays and commentary by over a hundred artists, critics, and poets, culled from the art magazine of the same name. The editors—artists Susan Bee and Mira Schor—have selected the liveliest and most provocative pieces from the maverick magazine that bucked commercial gallery interests and media hype during its ten-year tenure (1986–96) to explore visual pleasure with a culturally activist edge. With its emphasis on artists’ perspectives of aesthetic and social issues, this anthology provides a unique opportunity to enter into the fray of the most hotly contested art issues of the past few decades: the visibility of women artists, sexuality and the arts, censorship, art world racism, the legacies of modernism, artists as mothers, visual art in the digital age, and the rewards and toils of a lifelong career in art. The stellar cast of contributing artists and art writers includes Nancy Spero, Richard Tuttle, David Humphrey, Thomas McEvilley, Laura Cottingham, Johanna Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon Golub, Charles Bernstein, and Alison Knowles. This compelling and theoretically savvy collection will be of interest to artists, art historians, critics, and a general audience interested in the views of practicing artists.
Dance, whether considered as an art form or embodied social practice, as product or process, is a prime subject for cultural analysis. Yet only recently have studies of dance become concerned with the ideological, theoretical, and social meanings of dance practices, performances, and institutions. In Meaning in Motion, Jane C. Desmond brings together the work of critics who have ventured into the boundaries between dance and cultural studies, and thus maps a little-known and rarely explored critical site. Writing from a broad range of perspectives, contributors from disciplines as varied as art history and anthropology, dance history and political science, philosophy and women’s studies chart the questions and challenges that mark this site. How does dance enact or rework social categories of identity? How do meanings change as dance styles cross borders of race, nationality, or class? How do we talk about materiality and motion, sensation and expressivity, kinesthetics and ideology? The authors engage these issues in a variety of contexts: from popular social dances to the experimentation of the avant-garde; from nineteenth-century ballet and contemporary Afro-Brazilian Carnival dance to hip hop, the dance hall, and film; from the nationalist politics of folk dances to the feminist philosophies of modern dance. Giving definition to a new field of study, Meaning in Motion broadens the scope of dance analysis and extends to cultural studies new ways of approaching matters of embodiment, identity, and representation.
Contributors. Ann Cooper Albright, Evan Alderson, Norman Bryson, Cynthia Cohen Bull, Ann Daly, Brenda Dixon Gottschild, Susan Foster, Mark Franko, Marianne Goldberg, Amy Koritz, Susan Kozel, Susan Manning, Randy Martin, Angela McRobbie, Kate Ramsey, Anna Scott, Janet Wolff
Measuring Functioning and Well-Being is a comprehensive account a broad range of self-reported functioning and well-being measures developed for the Medical Outcomes Study, a large-sale study of how patients fare with health care in the United States. This book provides a set of ready-to-use generic measures that are applicable to all adults, including those well and chronically ill, as well as a methodological guide to collecting health data and constructing health measures. As demand increases for more practical methods to monitor the outcomes of health care, this volume offers a timely and valuable contribution to the field. The contributors address conceptual and methodological issues involved in measuring such important health status concepts as: physical, social, and role functioning; psychological distress and well-being; general health perceptions; energy and fatigue; sleep; and pain. The authors present psychometric results and explain how to administer, score, and interpret the measures. Comprising the work of a number of highly respected scholars in the field of health assessment, Measuring Functioning and Well-Being will be of great interest and value to the growing number of researchers, policymakers, and clinicians concerned with the management and evaluation of health care.
Drawing on methods and approaches from anthropology, media studies, film theory, and cultural studies, the contributors to Media, Erotics, and Transnational Asia examine how mediated eroticism and sexuality circulating across Asia and Asian diasporas both reflect and shape the social practices of their producers and consumers. The essays in this volume cover a wide geographic and thematic range, and combine rigorous textual analysis with empirical research into the production, circulation, and consumption of various forms of media.
Judith Farquhar examines how health magazines serve as sources of both medical information and erotic titillation to readers in urban China. Tom Boellstorff analyzes how queer zines produced in Indonesia construct the relationship between same-sex desire and citizenship. Purnima Mankekar examines the rearticulation of commodity affect, erotics, and nation on Indian television. Louisa Schein describes how portrayals of Hmong women in videos shot in Laos create desires for the homeland among viewers in the diaspora. Taken together, the essays offer fresh insights into research on gender, erotics, media, and Asia transnationally conceived.
Contributors. Anne Allison, Tom Boellstorff, Nicole Constable, Heather Dell, Judith Farquhar, Sarah L. Friedman, Martin F. Manalansan IV, Purnima Mankekar, Louisa Schein, Everett Yuehong Zhang
In Media Heterotopias Hye Jean Chung challenges the widespread tendency among audiences and critics to disregard the material conditions of digital film production. Drawing on interviews with directors, producers, special effects supervisors, and other film industry workers, Chung traces how the rhetorical and visual emphasis on seamlessness masks the social, political, and economic realities of global filmmaking and digital labor. In films such as Avatar (2009), Interstellar (2014), and The Host (2006)—which combine live action footage with CGI to create new hybrid environments—filmmaking techniques and "seamless" digital effects allow the globally dispersed labor involved to go unnoticed by audiences. Chung adapts Foucault's notion of heterotopic spaces to foreground this labor and to theorize cinematic space as a textured, multilayered assemblage in which filmmaking occurs in transnational collaborations that depend upon the global movement of bodies, resources, images, and commodities. Acknowledging cinema's increasingly digitized and globalized workflow, Chung reconnects digitally constructed and composited imagery with the reality of production spaces and laboring bodies to highlight the political, social, ethical, and aesthetic stakes in recognizing the materiality of collaborative filmmaking.
One of the most respected and honored historians of the media, Erik Barnouw has been called a major national resource by The Nation. Norman Corwin dubbed him America’s Gibbon. He is the writer, says critic John Leonard, “from whom the rest of us steal instead of doing our research.” Media history is his subject, and, as this memoir makes so delightfully clear, it has also been Erik Barnouw’s life. Barnouw’s story, told with wit and charm in Media Marathon, is the story of American culture adjusting to the twentieth century, of new media repeatedly displacing the old in a century-long competitive upheaval. Born in Holland in 1908 and an immigrant to the United States at the age of eleven, Barnouw spent his early working years in an astounding array of occupations—actor and stage manager, lyricist, translator, director, producer, teacher, and union official. This varied background, described here in rich detail, informs his writings about the world in which he moved, specifically regarding the shifting channels of twentieth-century mass communication. Telling his story through a series of personal profiles of the famous, the infamous, and the little known but powerfully influential, Barnouw recounts the events that took him from the vaudeville stage to the Library of Congress, where he became the first chief of its newly formed Motion Picture, Broadcasting, and Recording Sound Division. Thornton Wilder, Pearl S. Buck, Joshua Logan, Dwight Eisenhower, Lynn Fontanne, Tallulah Bankhead, and Akira Iwasaki—these are among the featured characters in the drama of American media, rendered here in striking close-ups. From The Hague to retirement in Vermont, with stops in India, Japan, and Russia, Barnouw’s remarkable story gives readers the chance to relive crucial chapters of modern media history—and to relive them with one of that history’s masters as an incomparable guide. A book for those interested in the “mass media,” its evolution, and role in society, Media Marathon will appeal to students, scholars, and general readers alike.
Media Theory in Japan
Marc Steinberg and Alexander Zahlten, editors Duke University Press, 2017 Library of Congress P92.J3M44 2017
Providing an overview of Japanese media theory from the 1910s to the present, this volume introduces English-language readers to Japan's rich body of theoretical and conceptual work on media for the first time. The essays address a wide range of topics, including the work of foundational Japanese thinkers; Japanese theories of mediation and the philosophy of media; the connections between early Japanese television and consumer culture; and architecture's intersection with communications theory. Tracing the theoretical frameworks and paradigms that stem from Japan's media ecology, the contributors decenter Eurocentric media theory and demonstrate the value of the Japanese context to reassessing the parameters and definition of media theory itself. Taken together, these interdisciplinary essays expand media theory to encompass philosophy, feminist critique, literary theory, marketing discourse, and art; provide a counterbalance to the persisting universalist impulse of media studies; and emphasize the need to consider media theory situationally.
Contributors. Yuriko Furuhata, Aaron Gerow, Mark Hansen, Marilyn Ivy, Takeshi Kadobayashi, Keisuke Kitano, Akihiro Kitada, Thomas Looser, Anne McKnight, Ryoko Misono, Akira Mizuta Lippit, Miryam Sas, Fabian Schäfer, Marc Steinberg, Tomiko Yoda, Alexander Zahlten
In this important collection, prominent scholars who helped to establish medical anthropology as an area of study reflect on the field's past, present, and future. In doing so, they demonstrate that medical anthropology has developed dynamically, through its intersections with activism, with other subfields in anthropology, and with disciplines as varied as public health, the biosciences, and studies of race and ethnicity. Each of the contributors addresses one or more of these intersections. Some trace the evolution of medical anthropology in relation to fields including feminist technoscience, medical history, and international and area studies. Other contributors question the assumptions underlying mental health, global public health, and genetics and genomics, areas of inquiry now central to contemporary medical anthropology. Essays on the field's engagements with disability studies, public policy, and gender and sexuality studies illuminate the commitments of many medical anthropologists to public-health and human-rights activism. Essential reading for all those interested in medical anthropology, this collection offers productive insight into the field and its future, as viewed by some of the world's leading medical anthropologists. Contributors. Lawrence Cohen, Didier Fassin, Faye Ginsburg, Marcia C. Inhorn, Arthur Kleinman, Margaret Lock, Emily Martin, Lynn M. Morgan, Richard Parker, Rayna Rapp, Merrill Singer, Emily A. Wentzell
In Medicating Race, Anne Pollock traces the intersecting discourses of race, pharmaceuticals, and heart disease in the United States over the past century, from the founding of cardiology through the FDA's approval of BiDil, the first drug sanctioned for use in a specific race. She examines wide-ranging aspects of the dynamic interplay of race and heart disease: articulations, among the founders of American cardiology, of heart disease as a modern, and therefore white, illness; constructions of "normal" populations in epidemiological research, including the influential Framingham Heart Study; debates about the distinctiveness African American hypertension, which turn on disparate yet intersecting arguments about genetic legacies of slavery and the comparative efficacy of generic drugs; and physician advocacy for the urgent needs of black patients on professional, scientific, and social justice grounds. Ultimately, Pollock insists that those grappling with the meaning of racialized medical technologies must consider not only the troubled history of race and biomedicine but also its fraught yet vital present. Medical treatment should be seen as a site of, rather than an alternative to, political and social contestation. The aim of scholarly analysis should not be to settle matters of race and genetics, but to hold medicine more broadly accountable to truth and justice.
In Mozambique, where more than half of the national health care budget comes from foreign donors, NGOs and global health research projects have facilitated a dramatic expansion of medical services. At once temporary and unfolding over decades, these projects also enact deeply divergent understandings of what care means and who does it. In Medicine in the Meantime, Ramah McKay follows two medical projects in Mozambique through the day-to-day lives of patients and health care providers, showing how transnational medical resources and infrastructures give rise to diverse possibilities for work and care amid constraint. Paying careful attention to the specific postcolonial and postsocialist context of Mozambique, McKay considers how the presence of NGOs and the governing logics of the global health economy have transformed the relations—between and within bodies, medical technologies, friends, kin, and organizations—that care requires and how such transformations pose new challenges for ethnographic analysis and critique.
In this revised and expanded edition of Medicine Stories, Aurora Levins Morales weaves together insights and lessons learned over a lifetime of activism to offer a new theory of social justice. Calling for a politics of integrity that recognizes the complicated wholeness of individual and collective lives, Levins Morales delves among the interwoven roots of multiple oppressions, exposing connections, crafting strategies, and uncovering the wellsprings of resilience and joy. Throughout these twenty-eight essays—twenty-one of which are new or extensively revised—she exposes the structures and mechanisms that silence voices and divide movements. The result is a medicine bag full of techniques and perspectives to build a universal solidarity that is flexible, nuanced, and strong enough to fundamentally shift our world toward justice. Intimately personal and globally relevant, Medicine Stories brings clarity and hope to tangled, emotionally charged social issues in beautiful and accessible language.
The cultural theorist Iain Chambers is known for his historically grounded, philosophically informed, and politically pointed inquiries into issues of identity, alterity, and migration, and the challenge postcolonial studies poses to conventional Western thought. With Mediterranean Crossings, he challenges insufficient prevailing characterizations of the Mediterranean by offering a vibrant interdisciplinary and intercultural interpretation of the region’s culture and history. The “Mediterranean” as a concept entered the European lexicon only in the early nineteenth century. As an object of study, it is the product of modern geographical, political, and historical classifications. Chambers contends that the region’s fundamentally fluid, hybrid nature has long been obscured by the categories and strictures imposed by European discourse and government.
In evocative and erudite prose, Chambers renders the Mediterranean a mutable space, profoundly marked by the linguistic, literary, culinary, musical, and intellectual dissemination of Arab, Jewish, Turkish, and Latin cultures. He brings to light histories of Mediterranean crossings—of people, goods, melodies, thought—that are rarely part of orthodox understandings. Chambers writes in a style that reflects the fluidity of the exchanges that have formed the region; he segues between major historical events and local daily routines, backwards and forwards in time, and from one part of the Mediterranean to another. A sea of endlessly overlapping cultural and historical currents, the Mediterranean exceeds the immediate constraints of nationalism and inflexible identity. It offers scholars an opportunity to rethink the past and present and to imagine a future beyond the confines of Western humanistic thought.
The Mediterranean is a diverse and volatile region, especially in its post—Cold War state, and it is entering a new phase of uncertainty. Twenty-two sovereign states surround this body of water: six are part of the Western alliance system, three have engaged in or supported terrorism, and others face serious internal tensions arising from territorial claims and ethnic strife. An expansion of a previous issue of Mediterranean Quarterly, this book brings together a distinguished array of diplomats, politicians, scholars, and policymakers representing twelve countries and a variety of interests and ideas to discuss this unique region and to explore its prospects for peace and stability. New essays in this expanded volume include a reflection by former President Jimmy Carter on the causes of war and their links to human suffering, a prophetic analysis of the post-Cold War environment in the Mediterranean by former U.N. Secretary General Boutros-Boutros Ghali, an essay on the strategic significance of Turkey in the eastern Mediterranean by the former Turkish ambassador to the United States, and, in light of recent events in Kosovo and elsewhere in the former Yugoslavia, a piece on the issue of Balkan security by the editor. Introducing the volume is a foreword by former U.S. Secretary of State George P. Schultz and an essay focusing on NATO in the Mediterranean by Javier Solana, the Secretary General of NATO. Central to the Mediterranean debate is the question of NATO’s role in its future. Some contributors suggest that the southward expansion of NATO could be an important first step toward stability, while others argue that the Mediterranean should be treated as an integrated geostrategic region, with a central place in Western security considerations. Other essays discuss the comparative experience of UNPROFOR and IFOR in the former Yugoslavia; the role of Italy in the future of the Mediterranean; the economic challenges facing the Middle East; and the role of Israel and its relationship to its neighbors. Mediterranean Security at the Crossroads is one of the first in-depth looks at this region from a strictly post-Cold War perspective.
Contributors. Hanan Bar-On, Ted Galen Carpenter, Jimmy Carter, Charles G. Cogan, Gregorios Demestichas, Boutros-Boutros Ghali, Carlo Jean, Nuzhet Kandemir, Nicolai A. Kovalsky, William H. Lewis, Peter H. Liotta, John A. MacInnis, Phebe Marr, Matthew Nimetz, George P. Schultz, Javier Solana, Richard F. Staar, Nikolaos A. Stavrou, George Vella, W. Bruce Weinrod
Music videos are available on more channels, in more formats, and in more countries than ever before. While MTV—the network that introduced music video to most viewers—is moving away from music video programming, other media developments signal the longevity and dynamism of the form. Among these are the proliferation of niche-based cable and satellite channels, the globalization of music video production and programming, and the availability of videos not just on television but also via cell phones, DVDs, enhanced CDs, PDAs, and the Internet. In the context of this transformed media landscape, Medium Cool showcases a new generation of scholarship on music video. Scholars of film, media, and music revisit and revise existing research as they provide historically and theoretically expansive new perspectives on music video as a cultural form.
The essays take on a range of topics, including questions of authenticity, the tension between high-art influences and mass-cultural appeal, the prehistory of music video, and the production and dissemination of music videos outside the United States. Among the thirteen essays are a consideration of how the rapper Jay-Z uses music video as the primary site for performing, solidifying, and discarding his various personas; an examination of the recent emergence of indigenous music video production in Papua New Guinea; and an analysis of the cultural issues being negotiated within Finland’s developing music video industry. Contributors explore precursors to contemporary music videos, including 1950s music television programs such as American Bandstand, Elvis’s internationally broadcast 1973 Aloha from Hawaii concert, and different types of short musical films that could be viewed in “musical jukeboxes” of the 1940s and 1960s. Whether theorizing music video in connection to postmodernism or rethinking the relation between sound and the visual image, the essays in Medium Cool reveal music video as rich terrain for further scholarly investigation.
Contributors. Roger Beebe, Norma Coates, Kay Dickinson, Cynthia Fuchs, Philip Hayward, Amy Herzog, Antti-Ville Kärjä, Melissa McCartney, Jason Middleton, Lisa Parks, Kip Pegley, Maureen Turim, Carol Vernallis, Warren Zanes
Meeting the Universe Halfway is an ambitious book with far-reaching implications for numerous fields in the natural sciences, social sciences, and humanities. In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad’s analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr’s philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity.
In an agential realist account, the world is made of entanglements of “social” and “natural” agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their “interrelationship.” Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler’s influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.
Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.
After graduating from the Beijing Film Academy in 1982, directors like Chen Kaige and Zhang Yimou transformed Chinese cinema with Farewell My Concubine, Yellow Earth, Raise the Red Lantern, and other international successes. Memoirs from the Beijing Film Academy tells the riveting story of this class of 1982, China’s famous "Fifth Generation" of filmmakers. It is the first insider’s account of this renowned cohort to appear in English. Covering these directors’ formative experiences during China’s tumultuous Cultural Revolution and later at the Beijing Film Academy, Ni Zhen—who was both their screenwriter and teacher—provides unique insights into the origins of the Fifth Generation’s creativity. Drawing on his personal knowledge and interviews conducted especially for this volume, Ni Zhen demonstrates the diversity of the Fifth Generation. He comments on the breadth of styles and themes explored by its members and introduces a range of male and female directors, cinematographers, and production designers famous in China but less well-known internationally. The book contains vivid descriptions of the production processes of two pioneering films—One and Eight and Yellow Earth.