Painting Culture describes in detail the actual practice of painting, insisting that such a focus is necessary to engage directly with the role of the art in the lives of contemporary Aboriginals. The book includes a unique local art history, a study of the complete corpus of two painters over a two-year period. It also explores the awkward local issues around the valuation and sale of the acrylic paintings, traces the shifting approaches of the Australian government and key organizations such as the Aboriginal Arts Board to the promotion of the work, and describes the early and subsequent phases of the works’ inclusion in major Australian and international exhibitions. Myers provides an account of some of the events related to these exhibits, most notably the Asia Society’s 1988 "Dreamings" show in New York, which was so pivotal in bringing the work to North American notice. He also traces the approaches and concerns of dealers, ranging from semi-tourist outlets in Alice Springs to more prestigious venues in Sydney and Melbourne.
With its innovative approach to the transnational circulation of culture, this book will appeal to art historians, as well as those in cultural anthropology, cultural studies, museum studies, and performance studies.
Drawing on extensive archival research, interviews with leading filmmakers and urban planners, and close readings of scripts and images, Braester describes how films and stage plays have promoted and opposed official urban plans and policies as they have addressed issues such as demolition-and-relocation plans, the preservation of vernacular architecture, and the global real estate market. He shows how the cinematic rewriting of historical narratives has accompanied the spatial reorganization of specific urban sites, including Nanjing Road in Shanghai; veterans’ villages in Taipei; and Tiananmen Square, centuries-old courtyards, and postmodern architectural landmarks in Beijing. In Painting the City Red, Braester reveals the role that film and theater have played in mediating state power, cultural norms, and the struggle for civil society in Chinese cities.
Bringing together a diverse group of contributors ranging from Roane Carey of the Nation to scholars in Arab, Jewish, and comparative literary studies, this special issue considers Palestinian gender and identity and their relationship to the conflict with Israel as represented in film, literature, and photography. Essays explore the failed peace process, misrepresentations of the Oslo meetings, the devastating effect of continued Israeli occupation of the Palestinian territories, and the growing controversy over the call for U.S. military divestment from Israel.
Contributors. Ammiel Alcalay, Amal Amireh, Mohammed Bamyeh, Roane Carey, Thomas W. Lockwood, Lisa Suhair Majaj, Saree Makdisi, Melani McAlister, Brinda J. Mehta, John Michael, Andrew N. Rubin, Kenneth Surin
This special issue places the Palestine question in a transnational and comparative frame that strives to better depict its historical complexity. The issue also gives special consideration to the different modes of Palestinian resistance both within and outside the state of Israel and the occupied territories.
The volume is interdisciplinary, including the work of anthropologists, historians, sociologists, political scientists, ethnomusicologists, and Americanist and literary studies scholars. Contributors examine popular music of the Palestinian resistance, ethno-racial “passing” in Israeli cinema, Arab-Jewish rock, Euro-Israeli tourism to the Arab Middle East, Internet communities in the Palestinian diaspora, café culture in early-twentieth-century Jerusalem, and more. Together, they suggest new ways of conceptualizing Palestinian and Israeli political culture.
Contributors. Livia Alexander, Carol Bardenstein, Elliott Colla, Amy Horowitz, Laleh Khalili, Mary Layoun, Mark LeVine, Joseph Massad, Melani McAlister, Ilan Pappé, Rebecca L. Stein, Ted Swedenburg, Salim Tamari
Through sixty-one beautifully crafted essays based on sojourns in Europe, West Africa, the United States, Australia, and New Zealand, and taking his cue from Wallace Stevens’s late poem, “Of Mere Being,” Jackson explores a range of experiences where “the palm at the end of the mind” stands “beyond thought,” on “the edge of space,” “a foreign song.” Moments of crisis as well as everyday experiences in cafés, airports, and offices disclose the subtle ways in which a single life shades into others, the boundaries between cultures become blurred, fate unfolds through genealogical time, elective affinities make their appearance, and different values contend.
Orr, who has experienced panic attacks herself, kept a diary of her participation as a research subject in clinical trials for the Upjohn Company’s anti-anxiety drug Xanax. This “panic diary” grounds her study and suggests the complexity of her desire to track the diffusion and regulation of panic in U.S. society. Orr’s historical research, theoretical reflections, and biographical narrative combine in this remarkable and compelling genealogy, which documents the manipulation of panic by the media, the social sciences and psychiatry, the U.S. military and government, and transnational drug companies.
The unearthing of the archives renewed fierce debates about history, memory, and justice. In Paper Cadavers, Weld explores Guatemala's struggles to manage this avalanche of evidence of past war crimes, providing a firsthand look at how postwar justice activists worked to reconfigure terror archives into implements of social change. Tracing the history of the police files as they were transformed from weapons of counterinsurgency into tools for post-conflict reckoning, Weld sheds light on the country's fraught transition from war to an uneasy peace, reflecting on how societies forget and remember political violence.
Drawing on these documents as well as immigration case files, legislative materials, and transcripts of interviews and court proceedings, Lau reveals immigration as an interactive process. Chinese immigrants and their U.S. families were subject to regulation and surveillance, but they also manipulated and thwarted those regulations, forcing the U.S. government to adapt its practices and policies. Lau points out that the Exclusion Acts and the pseudo-familial structures that emerged in response have had lasting effects on Chinese American identity. She concludes with a look at exclusion’s legacy, including the Confession Program of the 1960s that coerced people into divulging the names of paper family members and efforts made by Chinese American communities to recover their lost family histories.
Most of the Reader is arranged chronologically. Weighted toward the twentieth century and early twenty-first, it nevertheless gives due attention to major events in Paraguay's history, such as the Triple Alliance War (1864–70) and the Chaco War (1932–35). The Reader's final section, focused on national identity and culture, addresses matters including ethnicity, language, and gender. Most of the selections are by Paraguayans, and many of the pieces appear in English for the first time. Helpful introductions by the editors precede each of the book's sections and all of the selected texts.
Using information based on thirty years of research, Cumings offers a new perspective on a wide range of issues that originated with the cold war—with particular focus on the possibly inappropriate collaboration between universities, foundations, and intelligence agencies. Seeking to explode the presuppositions that Americans usually bring to the understanding of our relations with East Asia, the study ranges over much of the history of the twentieth century in East Asian–American relations—Pearl Harbor, Hiroshima and Nagasaki, the Korean War, and more recent difficulties in U.S. relations with China and Japan. Cumings also rebuts U.S. media coverage of North Korea’s nuclear diplomacy in the 1990s and examines how experiences of colonialism and postcolonialism have had varying effects on economic development in each of these countries. Positing that the central defining experience of twentieth-century East Asia has been its entanglement first with British and Japanese imperialism, and then with the United States, Cumings ends with a discussion of how the situation could change over the next century as the economic and political global clout of the United States declines.
Illuminating the sometimes self-deluded ideology of cold war America, Parallax Visions will engage historians, political scientists, and students and scholars of comparative politics and social theory, as well as readers interested in questions of modernity and the role of the United States in shaping the destinies of modernizing societies in Asia.
Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt’s works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists’ efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.
Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos
Contributors. Martha Cutter, Katharine Nicholson Ings, Samira Kawash, Adrian Piper, Valerie Rohy, Marion Rust, Julia Stern, Gayle Wald, Ellen M. Weinauer, Elizabeth Young
Gado concludes that whatever the outward appearance of Bergman's works, they contain an elementary psychic fantasy that links them all, revealing an artist who hoped to be a dramatist, "the new Strindberg," and who saw the camera as an extension of his pen.
Combining historical research with the insights of social movement theory, Pathways to Prohibition shows how a locally based, moderate strategy allowed the early-twentieth-century prohibition crusade both to develop a potent grassroots component and to transcend the limited scope of local politics. Szymanski describes how the prohibition movement’s strategic shift toward moderate goals after 1900 reflected the devolution of state legislatures’ liquor licensing power to localities, the judiciary’s growing acceptance of these local licensing regimes, and a collective belief that local electorates, rather than state legislatures, were best situated to resolve controversial issues like the liquor question. "Local gradualism" is well suited to the porous, federal structure of the American state, Szymanski contends, and it has been effectively used by a number of social movements, including the civil rights movement and the Christian right.
Contributors. Wayne Andersen, Sissela Bok, Yves Bonnefoy, Caroline Walker Bynum, Clare Cavanagh, Charles-Albert Cingria, Caryl Emerson, Clifford Geertz, Stanley N. Katz, Aileen Kelly, Adam Michnik, Péter Nádas, Eugene Ostashevsky, Jeffrey M. Perl, Marjorie Perloff, Nina Pelikan Straus, Rei Terada, Gianni Vattimo, William Vesterman, Aleksandr Vvedensky, Adam Zagajewski.
Grounded in the theoretical perspectives of subaltern studies and drawing on an extremely complete archive of landed estates that includes detailed regular reports by plantation managers on all aspects of farming life, Peasants on Plantations reveals the intricate ways peasants, managers, and owners manipulated each other to benefit their own interests. As Peloso demonstrates, rather than a simple case of domination of the peasants by the owners, both parties realized that negotiation was the key to successful growth, often with the result that peasants cooperated with plantation growth strategies in order to participate in a market economy. Long-term contracts gave tenants and sharecroppers many opportunities to make farming choices, to assert claims on the land, compete among themselves, and participate in plantation expansion. At the same time, owners strove to keep the peasants in debt and well aware of who maintained ultimate control.
Peasants on Plantations offers a largely untold view of the monumental struggle between planters and peasants that was fundamental in shaping the agrarian history of Peru. It will interest those engaged in Latin American studies, anthropology, and peasant and agrarian studies.
In these meditations, Alexander deftly unites large, often contradictory, historical processes across time and space. She focuses on the criminalization of queer communities in both the United States and the Caribbean in ways that prompt us to rethink how modernity invents its own traditions; she juxtaposes the political organizing and consciousness of women workers in global factories in Mexico, the Caribbean, and Canada with the pressing need for those in the academic factory to teach for social justice; she reflects on the limits and failures of liberal pluralism; and she presents original and compelling arguments that show how and why transgenerational memory is an indispensable spiritual practice within differently constituted women-of-color communities as it operates as a powerful antidote to oppression. In this multifaceted, visionary book, Alexander maps the terrain of alternative histories and offers new forms of knowledge with which to mold alternative futures.
Social structures, the domestic export and economies, and spiritual spheres within native Andean communities are key elements of analysis. Also highlighted is the persistence of duality in the Andean world: perceived dichotomies such as those between the coast and the highlands, Europeans and Indo-Peruvians. Even before the conquest, the Cabana and Collagua communities sharing the Colca Valley were divided according to kinship and location. The Incas, and then the Spanish, capitalized on these divisions, incorporating them into their state structure in order to administer the area more effectively, but Colca Valley peoples resisted total assimilation into either. Colca Valley communities have shown a remarkable tenacity in retaining their social, economic, and cultural practices while accommodating various assimilationist efforts over the centuries. Today’s population maintains similarities with their ancestors of more than five hundred years ago—in language, agricultural practices, daily rituals, familial relationships, and practices of reciprocity. They also retain links to ecological phenomena, including the volcanoes from which they believe they emerged and continue to venerate.
This collection gathers a unique group of contributors, including representatives from Congress, the United Nations, and Israel’s Ministry of Justice, as well as senior diplomats from Canada, Bulgaria, Portugal, Spain, and Turkey. Presenting their diverse perspectives, the contributors address regional and policy issues related to the mass migration of people, as well as questions concerning citizenship and national security, human trafficking in the form of prostitution, and cultural discrimination. The result is a multifaceted exploration of issues underlying many of the world’s economic, security, and social challenges. Other topics include the impact of state failure on migration, immigration in California, security measures and “preferred” immigrants in Canada after September 11, 2001, and Albanian migration into Greece.
Contributors. Alexandre Afonso, David Binder, Andrew C. Danopoulos, Constantine P. Danopoulos, Francis M. Deng, Mohamed A. El-Khawas, Omar G. Encarnación, Rochelle Gershuni, Larry L. Gerston, Ahmet Içduygu, Benjamin Kline, Bojan Korenic, Erin Kruger, Robert S. Leiken, Marlene Mulder, Elena Poptodorova, Tom Tancredo
The performances that Román analyzes range from localized community-based arts events to full-scale Broadway productions and from the controversial works of established artists such as Tony Kushner to those of emerging artists. Román considers dances produced by the choreographers Bill T. Jones and Neil Greenberg in the mid-1990s as new aids treatments became available and the aids crisis was reconfigured; a production of the Asian American playwright Chay Yew’s A Beautiful Country in a high-school auditorium in Los Angeles’s Chinatown; and Latino performer John Leguizamo’s one-man Broadway show Freak. He examines the revival of theatrical legacies by female impersonators and the resurgence of cabaret in New York City. Román also looks at how the performing arts have responded to 9/11, the U.S. invasion of Afghanistan, and the second war in Iraq. Including more than eighty illustrations, Performance in America highlights the dynamic relationships among performance, history, and contemporary culture through which the past is revisited and the future reimagined.
Contributors. Chen Yingzhen, Chungmoo Choi, Vicente M. Diaz, Arif Dirlik, T. Fujitani, Ishihara Masaie, Lamont Lindstrom, George Lipsitz, Marita Sturken, Toyonaga Keisaburo, Utsumi Aiko, Morio Watanabe, Geoffrey M. White, Diana Wong, Daqing Yang, Lisa Yoneyama
This special issue of MLQ covers examples of periodization from the early modern to the present, including a range from the individual year to the longue durée and incorporates a variety of methods from close empirical study to global concern. In the lead essay, Russell A. Berman argues that periodization saves us from the dangers of both anachronism and presentism. Srinivas Aravamudan, updating Vico, reminds usthat we lose the past if we simply leave it unexamined. In “Perioddity” Timothy J. Reiss reflects on the crossings of chronology with geology in long-range and global perspectives.
This collection strives to turn discomfort with periodization into a constructive discourse.
Contributors. Srinivas Aravamudan, Russell Berman, Marshall Brown, Margreta de Grazia, Robert J. Griffin, Anne K. Mellor, Michael North, Timothy J. Reiss
Under these conditions, cosmopolitanism in the traditional sense—primary loyalty to the good of humanity as a whole, even if it conflicts with loyalty to the interests of one's own nation—becomes a necessary resource in the struggle against military aggression. To what extent does the "new" cosmopolitanism also include or support this "old" cosmopolitanism? In an attempt to answer this question, Robbins engages with such thinkers as Noam Chomsky, Edward Said, Anthony Appiah, Immanuel Wallerstein, Louis Menand, W. G. Sebald, and Slavoj Zizek. The paradoxes of detachment and belonging they embody, he argues, can help define the tasks of American intellectuals in an era when the first duty of the cosmopolitan is to resist the military aggression perpetrated by his or her own country.
Unparalleled in scope, the volume covers Peru’s history from its extraordinary pre-Columbian civilizations to its citizens’ twenty-first-century struggles to achieve dignity and justice in a multicultural nation where Andean, African, Amazonian, Asian, and European traditions meet. The collection presents a vast array of essays, folklore, historical documents, poetry, songs, short stories, autobiographical accounts, and photographs. Works by contemporary Peruvian intellectuals and politicians appear alongside accounts of those whose voices are less often heard—peasants, street vendors, maids, Amazonian Indians, and African-Peruvians. Including some of the most insightful pieces of Western journalism and scholarship about Peru, the selections provide the traveler and specialist alike with a thorough introduction to the country’s astonishing past and challenging present.
By focusing on perversion as a psychic structure rather than as aberrant behavior, the contributors provide an alternative to models of social interpretation based on classical Oedipal models of maturation and desire. At the same time, they critique claims that the perverse is necessarily subversive or liberating. In their lucid introduction, the editors explain that while fixation at the stage of the perverse can result in considerable suffering for the individual and others, perversion motivates social relations by providing pleasure and fulfilling the psychological need to put something in the place of the Father. The contributors draw on a variety of psychoanalytic perspectives—Freudian and Lacanian—as well as anthropology, history, literature, and film. From Slavoj Žižek's meditation on “the politics of masochism” in David Fincher's movie Fight Club through readings of works including William Styron's The Confessions of Nat Turner, Don DeLillo’s White Noise, and William Burroughs's Cities of the Red Night, the essays collected here illuminate perversion's necessary role in social relations.
Contributors. Michael P. Bibler, Dennis A. Foster, Bruce Fink, Octave Mannoni, E. L. McCallum, James Penney, Molly Anne Rothenberg, Nina Schwartz, Slavoj Žižek
Jacques Rancière’s The Philosopher and His Poor meditates on these questions in close readings of major texts of Western thought in which the poor have played a leading role—sometimes as the objects of philosophical analysis, sometimes as illustrations of philosophical argument. Published in France in 1983 and made available here for the first time in English, this consummate study assesses the consequences for Marx, Sartre, and Bourdieu of Plato’s admonition that workers should do “nothing else” than their own work. It offers innovative readings of these thinkers’ struggles to elaborate a philosophy of the poor. Presenting a left critique of Bourdieu, the terms of which are largely unknown to an English-language readership, The Philosopher and His Poor remains remarkably timely twenty years after its initial publication.
Contributors. George Allan, Eva T. H. Brann, Arthur C. Danto, Lynn S. Joy, George L. Kline, George R. Lucas, Jr., Alasdair MacIntyre, Robert C. Neville, John Rickard, Stanley Rosen, J. B. Scheenwind, Donald Phillip Verene
Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong’s voice to DJ mixing techniques to Darnell Martin’s 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more.
The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history.
Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer
Smith reads Du Bois’s photographs in relation to other turn-of-the-century images such as scientific typologies, criminal mugshots, racist caricatures, and lynching photographs. By juxtaposing these images with reproductions from Du Bois’s exhibition archive, Smith shows how Du Bois deliberately challenged racist representations of African Americans. Emphasizing the importance of comparing multiple visual archives, Photography on the Color Line reinvigorates understandings of the stakes of representation and the fundamental connections between race and visual culture in the United States.
Richly illustrated with over 100 images, Photography’s Other Histories explores from a variety of regional, cultural, and historical perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Dine' artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria to the changing "contract" between Aboriginal subjects and photographers. Other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. Photography’s Other Histories recasts popular photography around the world, as not simply reproducing culture but creating it.
Contributors. Michael Aird, Heike Behrend, Jo-Anne Driessens, James Faris, Morris Low, Nicolas Peterson, Christopher Pinney, Roslyn Poignant, Deborah Poole, Stephen Sprague, Hulleah Tsinhnahjinnie, Christopher Wright
Contributors. Michael A. Chaney, Cheryl Finley, P. Gabrielle Foreman, Ginger Hill, Leigh Raiford, Augusta Rohrbach, Ray Sapirstein, Suzanne N. Schneider, Shawn Michelle Smith, Laura Wexler, Maurice O. Wallace
Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.
Essays included in this collection discuss the hesitant response of the American academy to Bourdieu; Bourdieu on Derrida on Kant; “pure poetry,” cultural capital, and the rejection of classicism; and the insight Bourdieu’s work lends to our understanding of the position of eighteenth-century women writers.
Contributors. Marilyn Butler, John Guillory, Elizabeth W. Harries, Jonathan Joesberg, Toril Moi, William Paulson, Trevor Ross
In analyzing the popularity of Pokémon, this innovative volume addresses core debates about the globalization of popular culture and about children’s consumption of mass-produced culture. Topics explored include the origins of Pokémon in Japan’s valorization of cuteness and traditions of insect collecting and anime; the efforts of Japanese producers and American marketers to localize it for foreign markets by muting its sex, violence, moral ambiguity, and general feeling of Japaneseness; debates about children’s vulnerability versus agency as consumers; and the contentious question of Pokémon’s educational value and place in school. The contributors include teachers as well as scholars from the fields of anthropology, media studies, sociology, and education. Tracking the reception of Pokémon in Japan, the United States, Great Britain, France, and Israel, they emphasize its significance as the first Japanese cultural product to enjoy substantial worldwide success and challenge western dominance in the global production and circulation of cultural goods.
Contributors. Anne Allison, Linda-Renée Bloch, Helen Bromley, Gilles Brougere, David Buckingham, Koichi Iwabuchi, Hirofumi Katsuno, Dafna Lemish, Jeffrey Maret, Julian Sefton-Green, Joseph Tobin, Samuel Tobin, Rebekah Willet, Christine Yano
Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.
Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)
Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.
Woodard’s fine-grained political history proceeds chronologically from the final years of the nineteenth century, when São Paulo’s leaders enjoyed political preeminence within the federal system codified by the Constitution of 1891, through the mass mobilization of 1931–32, in which São Paulo’s people marched, rioted, and eventually took up arms against the national government in what was to be Brazil’s last great regionalist revolt. In taking to the streets in the name of their state, constitutionalism, and the “civilization” that they identified with both, the people of São Paulo were at once expressing their allegiance to elements of a regionally distinct political culture and converging on a broader, more participatory public sphere that had arisen amid the political conflicts of the preceding decades.
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