Abandoning the Black Hero is the first book to examine the postwar African American white-life novel—novels with white protagonists written by African Americans. These fascinating works have been understudied despite having been written by such defining figures in the tradition as Richard Wright, Zora Neale Hurston, James Baldwin, Ann Petry, and Chester Himes, as well as lesser known but formerly best-selling authors Willard Motley and Frank Yerby.
John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency.
In an era when “Negro writers” were expected to protest, their sympathetic treatment of white suffering grants these authors a degree of racial privacy previously unavailable to them. White writers, after all, have the privilege of racial privacy because they are never pressured to write only about white life. Charles reveals that the freedom to abandon the “Negro problem” encouraged these authors to explore a range of new genres and themes, generating a strikingly diverse body of novels that significantly revise our understanding of mid-twentieth-century black writing.
In this sympathetic history of a maligned decade, Marty Jezer, a fellow antiwar activist, details Abbie Hoffman's humor, manic energy, depressive spells, political skills, & above all, his incurable & still contagious optimism. He presents a thoughtful, solidly researched biography of the wildly creative & iconoclastic Yippie, portraying Hoffman as a fresh force in American political culture. Jezer surveys in detail the politics, philosophies, & struggles of the antiwar movement.
"... Abbie, more than any other radical, showed potheads how to demonstrate and radicals how to dance." -- Chicago Tribune
"... deeply sympathetic and scrupulously detached-a triumph of judicious empathy." -- MARTIN DUBERMAN, Distinguished Professor of History, Lehman/The Graduate School, C.U.N.Y.
"... details Hoffman's humor, manic energy, depressive spells, political skills, and above all, his Incurable and still contagious optimism." -- Entertainment Weekly
"Here's the Abbie I knew and loved! Marty Jezer has captured him in all his complexity, dedication, humor, and heart." -- ANITA HOFFMAN
Abject Relations presents an alternative approach to anorexia, long considered the epitome of a Western obsession with individualism, beauty, self-control, and autonomy. Through detailed ethnographic investigations, Megan Warin looks at the heart of what it means to live with anorexia on a daily basis. Participants describe difficulties with social relatedness, not being at home in their body, and feeling disgusting and worthless. For them, anorexia becomes a seductive and empowering practice that cleanses bodies of shame and guilt, becomes a friend and support, and allows them to forge new social relations.
Unraveling anorexia's complex relationships and contradictions, Warin provides a new theoretical perspective rooted in a socio-cultural context of bodies and gender. Abject Relations departs from conventional psychotherapy approaches and offers a different "logic," one that involves the shifting forces of power, disgust, and desire and provides new ways of thinking that may have implications for future treatment regimes.
Burbank, Victoria Katherine Rutgers University Press, 1988 Library of Congress GN663.B88 1988 | Dewey Decimal 305.235089991509
This analysis of female adolescence in an Australian Aboriginal community focuses on adolescent sexual behavior, marriage, and the conflict between adult expectations and adolescent behavior in these domains.
How do feminist identity and abortion politics intersect? Specifically, what does feminism mean to women working to feminist health care and abortion services in the late 1980s and early 1990s? What are the ideological consequences and emotional tolls of doing such work in a hostile socio-cultural environment? Can feminism and bureaucracy coexist productively? How do feminists confront the anti-feminist opposition, from anti-abortion protesters outside to racism within feminist organizations?
These are the questions that drive Wendy Simonds' Abortion at Work. Simonds documents the ways in which workers at a feminist clinic construct compelling feminist visions, and also watch their ideals fall short in practice. Simonds interprets these women's narratives to get at how abortion works on feminism, and to show what feminism can gain by rethinking abortion utilizing these activists' terms. In thoroughly engaging prose, Simonds frames her analysis with a moving account of her own personal understanding of the issues.
The public debate on abortion stretches back much further than Roe v. Wade, to long before the terms “pro-choice” and “pro-life” were ever invented. Yet the ways Americans discussed abortion in the early decades of the twentieth century had little in common with our now-entrenched debates about personal responsibility and individual autonomy.
Abortion in the American Imagination returns to the moment when American writers first dared to broach the controversial subject of abortion. What was once a topic avoided by polite society, only discussed in vague euphemisms behind closed doors, suddenly became open to vigorous public debate as it was represented everywhere from sensationalistic melodramas to treatises on social reform. Literary scholar and cultural historian Karen Weingarten shows how these discussions were remarkably fluid and far-ranging, touching upon issues of eugenics, economics, race, and gender roles.
Weingarten traces the discourses on abortion across a wide array of media, putting fiction by canonical writers like William Faulkner, Edith Wharton, and Langston Hughes into conversation with the era’s films, newspaper articles, and activist rhetoric. By doing so, she exposes not only the ways that public perceptions of abortion changed over the course of the twentieth century, but also the ways in which these abortion debates shaped our very sense of what it means to be an American.
From the perspective of cultural conservatives, Hollywood movies are cesspools of vice, exposing impressionable viewers to pernicious sexually-permissive messages. Offering a groundbreaking study of Hollywood films produced since 2000, Abstinence Cinema comes to a very different conclusion, finding echoes of the evangelical movement’s abstinence-only rhetoric in everything from Easy A to Taken.
Casey Ryan Kelly tracks the surprising sex-negative turn that Hollywood films have taken, associating premarital sex with shame and degradation, while romanticizing traditional nuclear families, courtship rituals, and gender roles. As he demonstrates, these movies are particularly disempowering for young women, concocting plots in which the decision to refrain from sex until marriage is the young woman’s primary source of agency and arbiter of moral worth. Locating these regressive sexual politics not only in expected sites, like the Twilight films, but surprising ones, like the raunchy comedies of Judd Apatow, Kelly makes a compelling case that Hollywood films have taken a significant step backward in recent years.
Abstinence Cinema offers close readings of movies from a wide spectrum of genres, and it puts these films into conversation with rhetoric that has emerged in other arenas of American culture. Challenging assumptions that we are living in a more liberated era, the book sounds a warning bell about the powerful cultural forces that seek to demonize sexuality and curtail female sexual agency.
Over fifty years have passed since Abstract Expressionism burst onto the New York City art scene, quickly attaining singular prominence as the first school in American painting to declare its independence from European styles. New assessments of its impact and importance continue to emerge. Yet, while much has been written about the movement’s broad range of stylistic diversity, its sociological and psychological dimensions, and its cultural significance in the United States, little attention has been paid to the interaction of its artists on the international scene. Abstract Expressionism: The International Context fills this gap by providing an in-depth exploration of this truly global art movement.
Bringing together fifteen original and path-breaking essays by world-class authorities on Abstract Expressionism as well as by younger scholars, this anthology looks beyond the canonical painters to explore the broader connections among abstract artists of the post–World War II era. Moving from the margins to the center, the essays recognize the contributions of artists working far beyond New York City. Topics include Jackson Pollock’s contact with Mexican muralists and the legacy of Abstract Expressionism for leftist artists in Latin America, the relevance of Jean-Paul Sartre and Samuel Beckett as sources of philosophical thought, the significance of northern European CoBrA painters such as Asger Jorn, the impact of Japanese Gutai artists, and connections with the revolutionary art of Italy, Belgium, and France. Abstract Expressionism is also described as a model for contemporaneous developments in the former Soviet Union.
As the first book to consider the movement in relation to post–World War II abstraction on four continents, this book brings a fresh perspective to this widely studied school of painting. Scholars and students alike will find this anthology essential reading in creating a more complete and nuanced understanding of Abstract Expressionism.
Sex abuse happens in all communities, but American minority religions often face disproportionate allegations of sexual abuse. Why, in a country that consistently fails to acknowledge—much less address—the sexual abuse of women and children, do American religious outsiders so often face allegations of sexual misconduct? Why does the American public presume to know “what’s really going on” in minority religious communities? Why are sex abuse allegations such an effective way to discredit people on America’s religious margins? What makes Americans so willing, so eager to identify religion as the cause of sex abuse? Abusing Religion argues that sex abuse in minority religious communities is an American problem, not (merely) a religious one.
Academic Motherhood tells the story of over one hundred women who are both professors and mothers and examines how they navigated their professional lives at different career stages. Kelly Ward and Lisa Wolf-Wendel base their findings on a longitudinal study that asks how women faculty on the tenure track manage work and family in their early careers (pre-tenure) when their children are young (under the age of five), and then again in mid-career (post-tenure) when their children are older. The women studied work in a range of institutional settings—research universities, comprehensive universities, liberal arts colleges, and community colleges—and in a variety of disciplines, including the sciences, the humanities, and the social sciences.
Much of the existing literature on balancing work and family presents a pessimistic view and offers cautionary tales of what to avoid and how to avoid it. In contrast, the goal of Academic Motherhood is to help tenure track faculty and the institutions at which they are employed “make it work.” Writing for administrators, prospective and current faculty as well as scholars, Ward and Wolf-Wendel bring an element of hope and optimism to the topic of work and family in academe. They provide insight and policy recommendations that support faculty with children and offer mechanisms for problem-solving at personal, departmental, institutional, and national levels.
In recent years scholars have begun to question the cultural values underlying our view of Nature. Kevin Dann contributes to this debate by juxtaposing two radically different “Arcadian” experiments founded by Manhattanites seeking cultural renewal through contact with the natural world.
Dann focuses first on initiatives carried out by the American Museum of Natural History and the Eugenics Record Office from 1910 to 1940 within Harriman State Park in the Ramapo Mountains. He argues that these diverse expressions of the early “back-to-nature” movement are united by their biological materialism, or “Naturalism,” which became integral to the popular culture of educated metropolitan Americans in the early twentieth century.
He then compares this activity to the contemporary efforts at nearby Threefold Farm, where anthroposophists--followers of Rudolf Steiner's“spiritual science”--developed a program of natural scientific research and education that directly opposed Darwinian explanations of natural history, social Darwinian views of human society, and reductionist scientific methods. By challenging scientific “fact” with spiritual scientific descriptions of supersensible phenomena, the Threefold Farm initiative offered Americans a new gospel of nature.
Springer, Claudia Rutgers University Press, 2015 Library of Congress PN1995.9.A26A26 2015 | Dewey Decimal 791.43028
Screen performances entertain and delight us but we rarely stop to consider actors’ reliance on their craft to create memorable characters. Although film acting may appear effortless, a host of techniques, artistic conventions, and social factors shape the construction of each role.
The chapters in Acting provide a fascinating, in-depth look at the history of film acting, from its inception in 1895 when spectators thrilled at the sight of vaudeville performers, Wild West stars, and athletes captured in motion, to the present when audiences marvel at the seamless blend of human actors with CGI. Experts in the field take readers behind the silver screen to learn about the craft of film acting in six eras: the silent screen (1895–1928), classical Hollywood (1928–1946), postwar Hollywood (1947–1967), the auteur renaissance (1968–1980), the New Hollywood (1981–1999), and the modern entertainment marketplace (2000–present). The contributors pay special attention to definitive performances by notable film stars, including Lillian Gish, Dick Powell, Ginger Rogers, Beulah Bondi, Marilyn Monroe, Marlon Brando, Jack Nicholson, Robert De Niro, Nicholas Cage, Denzel Washington, and Andy Serkis.
In six original essays, the contributors to this volume illuminate the dynamic role of acting in the creation and evolving practices of the American film industry.
Acting is a volume in the Behind the Silver Screen series—other titles in the series include Animation; Art Direction and Production Design; Cinematography; Costume, Makeup, and Hair; Directing; Editing and Special/Visual Effects; Producing; Screenwriting; and Sound.
A captivating cast of 1980s power and talent--John Candy, Tom Cruise, Robert DeNiro, Clint Eastwood, Sally Field, Harrison Ford, Michael J. Fox, Mel Gibson, Goldie Hawn, Jessica Lange, Steve Martin, Eddie Murphy, Arnold Schwarzenegger, Sissy Spacek, Sylvester Stallone, Meryl Streep, Sigourney Weaver, Bruce Willis, and the "Brat Pack"—stars in the drama of this decade. Acting for America focuses on the way these film icons have engaged in and defined some major issues of cultural and social concern to America during the 1980s.
Scholars employing a variety of useful approaches explore how these movie stars' films speak to an increased audience awareness of advances in feminism, new ideas about masculinity, and the complex political atmosphere in the Age of Reagan. The essays demonstrate the range of these stars' contributions to such conversations in a variety of films, including blockbusters and major genres.
In this lively account of politics and popular music, Mark Mattern develops the concept of "acting in concert," a metaphor for community-based political action through music. Through three detailed case studies of Chilean, Cajun, and American Indian popular music, Mattern explores the way popular muisicians forge community and lead members of their communities in several distinct kinds of political action that would be difficult or impossible among individuals who are not linked by communal ties.
More than just entertainment, Mattern argues that popular music can serve as a social glue for bringing together a multitude of voices that might otherwise remain silent, and that political action through music can increase the potential for relatively marginalized people to choose and determine their own fate.
If you thought the most challenging aspects of a career in acting would involve choosing the "right" roles and dodging the paparatzzi, think again. Success requires a tremendous amount of hard work, creativity, and dedication, as you'll learn from some of the industry's most respected name, in Acting Now.
The Olympics have developed into the world's premier sporting event. They are simultaneously a competitive exhibition and a grand display of cooperation that bring together global cultures on ski slopes, shooting ranges, swimming pools, and track ovals. Given their scale in the modern era, the Games are a useful window for better comprehending larger cultural, social, and historical processes, argues Jules Boykoff, an academic social scientist and a former Olympic athlete.
In Activism and the Olympics, Boykoff provides a critical overview of the Olympic industry and its political opponents in the modern era. After presenting a brief history of Olympic activism, he turns his attention to on-the-ground activism through the lens of the Vancouver 2010 Winter Olympics and the 2012 Summer Olympics in London. Here we see how anti-Olympic activists deploy a range of approaches to challenge the Olympic machine, from direct action and the seizure of public space to humor-based and online tactics. Drawing on primary evidence from myriad personal interviews with activists, journalists, civil libertarians, and Olympics organizers, Boykoff angles in on the Games from numerous vantages and viewpoints.
Although modern Olympic authorities have strived—even through the Cold War era—to appear apolitical, Boykoff notes, the Games have always been the site of hotly contested political actions and competing interests. During the last thirty years, as the Olympics became an economic juggernaut, they also generated numerous reactions from groups that have sought to challenge the event’s triumphalism and pageantry. The 21st century has seen an increased level of activism across the world, from the Occupy Movement in the United States to the Arab Spring in the Middle East. What does this spike in dissent mean for Olympic activists as they prepare for future Games?
Biographies are so much more than lists of teachers, roles, and awards. The Actor’s Art conveys stories about numerous productions, insight about becoming and being an actor, and opinions about issues such as color-blind casting and the future of theatre. Together, these conversations form lively, thought-provoking sketches of such stars as Hume Cronyn and Jessica Tandy, Ruby Dee, Julie Harris, Cherry Jones, James Earl Jones, Stacy Keach, Nathan Lane, and Jason Robards. The Actor’s Art demonstrates the value of listening, and the pleasures of reading.
The success of internet auction sites like eBay and the cult status of public television's Antiques Roadshow attest to the continued popularity of collecting in American culture. Acts of Possession investigates the ways cultural meanings of collections have evolved and yet remained surprisingly unchanged throughout American history.
Drawing upon the body of theoretical work on collecting and focusing on individual as opposed to museum collections, the contributors investigate how, what, and why Americans have collected and explore the inherent meanings behind systems of organization and display. Essays consider the meanings of Thomas Jefferson's Indian Hall at Monticello; the pedagogical theories behind nineteenth-century children's curiosity cabinets; collections of Native American artifacts; and the ability of the owners of doll houses to construct meaning within the context of traditional ideals of domesticity.
The authors also consider some darker aspects of collecting-hoarding, fetishism, and compulsive behavior-scrutinizing collections of racist memorabilia and fascist propaganda. The final essay posits the serial killer as a collector, an investigation into the dangerous objectification of humans themselves.
By bringing fresh, interdisciplinary critical perspectives to bear on these questions, Dilworth and her coauthors weave a fascinating cultural history of collecting in America.
After decades of the American “war on drugs” and relentless prison expansion, political officials are finally challenging mass incarceration. Many point to an apparently promising solution to reduce the prison population: addiction treatment.
In Addicted to Rehab, Bard College sociologist Allison McKim gives an in-depth and innovative ethnographic account of two such rehab programs for women, one located in the criminal justice system and one located in the private healthcare system—two very different ways of defining and treating addiction. McKim’s book shows how addiction rehab reflects the race, class, and gender politics of the punitive turn. As a result, addiction has become a racialized category that has reorganized the link between punishment and welfare provision. While reformers hope that treatment will offer an alternative to punishment and help women, McKim argues that the framework of addiction further stigmatizes criminalized women and undermines our capacity to challenge gendered subordination. Her study ultimately reveals a two-tiered system, bifurcated by race and class.
Adolescence is in many ways a culturally constructed category, with different meanings for different societies. Susan Schaefer Davis and Douglas A. Davis have studied adolescence in Zawiya, a town in northern Morocco. They examine changes in views of adolescence, changes in adolescent behavior, and differences in the adolescent experiences of boys and girls over the past few decades.
Rashid was eighteen in 1982, when he helped us understand the feelings and activities of young people in his neighborhood, no longer a boy but not quite a man. He liked to talk about how his feelings and his understanding had grown from the time described, when he was just a kid. He recalled his dreams and plans in one of the hundreds of conversations we had about adolescence in this Moroccan town. His generation of youth in "Zawiya," on the western edge of North Africa, are the subject of this book.
In recent years, different family types have begun demanding recognition to an unprecedented extent. Despite notable changes to our cultural and academic landscapes, however, adoptive families remain overlooked. According to census data, about two and a half percent of children in the United States are adopted. But mere numbers do not begin to indicate the profound impact that these families have on cultural definitions of kinship.
Adoptive Families in a Diverse Society brings together twenty-one prominent scholars to explore the experience, practice, and policy of adoption in North America. While much existing literature tends to stress the potential problems inherent in non-biological kinship, the essays in this volume consider adoptive family life in a broad and balanced context.
Essays explore our current fascination with genetics, showing how our intense belief that we are produced, shaped, and controlled by our genes has affected the authenticity and value that we credit to adoptive parent/child relations. Other essays look at identity development, community attitudes toward adoption, gay adoptive fathers’ experiences, the ways in which single mother adoptive families create kinship, and the ways in which cultural assumptions about race and class operate in the system.
Bringing new perspectives to the topics of kinship, identity, and belonging, this path-breaking book expands more than our understandings of adoptive family life; it urges us to rethink the limits and possibilities of diversity and assimilation in American society.
When Adorned in Dreams was first published in 1985, Angela Carter described the book as "the best I have read on the subject, bar none." From haute couture to haberdashery, "deviant" dress to Dior, Elizabeth Wilson traces the social and cultural history of fashion and its complex relationship to modernity. She also discusses fashion's vociferous opponents, from the "dress reform" movement to certain strands of feminism. Wilson delights in the power of fashion to mark out identity or subvert it. This brand new edition of her book follows recent developments to bring the story of fashionable dress up to date, exploring the grunge look inspired by bands like Nirvana, the "boho chic" of the mid 90's, retro-dressing, and the meanings of dress from the veil to soccer player David Beckham's pink-varnished toenails.
Adult Supervision Required considers the contradictory ways in which contemporary American culture has imagined individual autonomy for parents and children. In many ways, today’s parents and children have more freedom than ever before. There is widespread respect for children’s autonomy as distinct individuals, and a broad range of parenting styles are flourishing. Yet it may also be fair to say that there is an unprecedented fear of children’s and parents’ freedom. Dread about Amber Alerts and “stranger danger” have put an end to the unsupervised outdoor play enjoyed by earlier generations of suburban kids. Similarly, fear of bad parenting has not only given rise to a cottage industry of advice books for anxious parents, but has also granted state agencies greater power to police the family.
Using popular parenting advice literature as a springboard for a broader sociological analysis of the American family, Markella B. Rutherford explores how our increasingly psychological conception of the family might be jeopardizing our appreciation for parents’ and children’s public lives and civil liberties.
Shonda Rhimes is one of the most powerful players in contemporary American network television. Beginning with her break-out hit series Grey’s Anatomy, she has successfully debuted Private Practice, Scandal, How to Get Away with Murder, The Catch, For The People, and Station 19. Rhimes’s work is attentive to identity politics, “post-” identity politics, power, and representation, addressing innumerable societal issues. Rhimes intentionally addresses these issues with diverse characters and story lines that center, for example, on interracial friendships and relationships, LGBTIQ relationships and parenting, the impact of disability on familial and work dynamics, and complex representations of womanhood. This volume serves as a means to theorize Rhimes’s contributions and influence by inspiring provocative conversations about television as a deeply politicized institution and exploring how Rhimes fits into the implications of twenty-first century television.
While stories of organized crime most often dwell on groups like the Mafia and Chinese Triad or Tongs, African Americans also have a long history of organized crime. Why have scholars and journalists paid so little attention to African American organized crime? What can a history of these criminal networks teach us about the social, political, and economic challenges that face African Americans today? What is specific to African American organized crime, and how do these networks differ from the criminal organizations of other racial and ethnic groups? How can a historical study of African American organized crime enrich our understanding of all criminal activity?
Rufus Schatzberg and Robert Kelly take us through almost a century of African American organized crime. Chapters focus on the numbers gambling that took place in New York City from 1920 to 1940, the criminal groups that operated in ghettos from the 1940s to the 1970s, and the gang activities that began in the 1970s and continues today. While providing a compelling analysis of African American organized crime, the authors also challenge existing stereotypes of African Americans and demonstrate the importance of studying any criminal activity within its historical and social context.
Shirley Chisholm, the first Black woman in the U.S. House of Representatives, was elected in 1968. That was nearly a hundred years after the election of the first African American man to Congress and fifty years after the first woman. A quarter of a century after Chisholm's election, the first Black woman, Carol Moseley-Braun, was elected to the United States Senate. It was not until 1993, when ten additional Black women won seats in the 103rd Congress, that African American women were allowed to serve their country and their constituencies in any substantial numbers. In 1997 that historic moment will very likely be lost as congressional districts are redrawn by court order. This remarkable book by LaVerne Gill preserves the history of the struggles and accomplishments of these fifteen courageous women, and will move others to learn from and follow their example.
African American Women in Congress details the life and career histories of Shirley Chisholm, Barbara Jordan, Yvonne Burke, Cardiss Collins, Katie Hall, Eleanor Holmes Norton, Maxine Waters, Barbara-Rose Collins, Carol Moseley-Braun, Corinne Brown, Carrie Meek, Cynthia McKinney, Eva Clayton, Eddie Bernice Johnson, and Sheila Jackson-Lee. Each profile contains a picture of its subject, interview material, and resumés. Arranged chronologically, the book introduces the reader to issues of vital importance to the Black community—Reconstruction, enfranchisement, lynchings and harassment, civil rights struggles, the founding of advocacy groups, the power of the Congressional Black Caucus, the creation of majority minority districts that allowed greater representation in Congress, the struggle of largely Black Washington, D.C., for representation, and the recent dismantling of past gains by a Republican majority. Gill also describes the uphill battles for social justice and the rights of women that the fifteen women had to wage even within their own political parties, political organizations, and districts.
For general readers, high school and college students, and anyone interested in the political process, this book is illuminating and inspiring reading.
African American Women Writers in New Jersey, 1836-2000 is the first and only reference book to identify and document the lives, intellectual contributions, and publications of over one hundred African American women writers in the Garden State from 1836 through 2000. Many, such as Jessie Redmon Fauset, Alice Perry Johnson, Sharon Bell Mathis, Ntozake Shange, Claudia C. Tate, Ruby Ora Williams, and Marion Thompson Wright, were born in the state. Others, like Amina Baraka, E. Alma Flagg, Helen Jackson Lee, Gertrude Williams Pitts, and Dorothy Porter Wesley, although not born there, were residents of New Jersey for more than fifteen years, and made significant contributions during that time.
This volume contains biographical and bibliographical information for each author. There are photographs of the writers as well as citations for their published pamphlets, books, reports, and articles. Sibyl E. Moses has enhanced the text with characteristic excerpts from the poetry and prose of selected writers. The two appendixes highlight the distribution of African American women writers in New Jersey both by city or town, and by genre.
Anthropologists usually think of domesticity as the activities related to the home and the family. Such activities have complex meanings associated with the sense of space, work, gender, and power. The contributors to this interdisciplinary collection of papers examine how indigenous African notions of domesticity interact with Western notions to transform the meaning of such activities. They explore the interactions of notions of domesticity in a number of settings in the twentieth century and the kinds of personal troubles and public issues these interactions have provoked. They also demonstrate that domesticity, as it emerged in Africa through the colonial encounter, was culturally constructed, and they show how ideologies of work, space, and gender interact with broader political-economic processes.
In her introduction, Hansen explains how the meaning of domesticity has changed and been contested in the West, specifies which of these shifting meanings are relevant in the African context, and summarizes the historical processes that have affected African ideologies of domesticity.
Fractals are characterized by the repetition of similar patterns at ever-diminishing scales. Fractal geometry has emerged as one of the most exciting frontiers on the border between mathematics and information technology and can be seen in many of the swirling patterns produced by computer graphics. It has become a new tool for modeling in biology, geology, and other natural sciences.
Anthropologists have observed that the patterns produced in different cultures can be characterized by specific design themes. In Europe and America, we often see cities laid out in a grid pattern of straight streets and right-angle corners. In contrast, traditional African settlements tend to use fractal structures-circles of circles of circular dwellings, rectangular walls enclosing ever-smaller rectangles, and streets in which broad avenues branch down to tiny footpaths with striking geometric repetition. These indigenous fractals are not limited to architecture; their recursive patterns echo throughout many disparate African designs and knowledge systems.
Drawing on interviews with African designers, artists, and scientists, Ron Eglash investigates fractals in African architecture, traditional hairstyling, textiles, sculpture, painting, carving, metalwork, religion, games, practical craft, quantitative techniques, and symbolic systems. He also examines the political and social implications of the existence of African fractal geometry. His book makes a unique contribution to the study of mathematics, African culture, anthropology, and computer simulations.
After Authority explores the tendency in art cinema to respond to political transition by turning to ambiguity, a system that ideally stems the reemergence of authoritarian logics in art and elsewhere. By comparing films from Italy, Hungary, South Korea, and the United States, this book contends that the aesthetic tradition of ambiguity in art cinema can be traced to post-authoritarian conditions and that it is in the context of a transition away from authoritarianism where art cinema aesthetics become legible. Art cinema, then, can be seen as a mode of cinematic practice that is at its core political, as its constitutive ambiguity finds its roots in the rejection of centralized and hierarchical configurations of authority. Ultimately, After Authority proposes a history of art cinema predicated on the potentials, possibilities, and politics of ambiguity.
From Thomas Piketty to David Harvey, scholars are increasingly questioning whether we are entering into a post-capitalist era. If so, does this new epoch signal the failure of capitalism and emergence of alternative systems? Or does it mark the ultimate triumph of capitalism as it evolves into an unstoppable entity that takes new forms as it engulfs its opposition?
After Capitalism brings together leading scholars from across the academy to offer competing perspectives on capitalism’s past incarnations, present conditions, and possible futures. Some contributors reassess classic theorizations of capitalism in light of recent trends, including real estate bubbles, debt relief protests, and the rise of a global creditocracy. Others examine Marx’s writings, unemployment, hoarding, “capitalist realism,” and coyote (trickster) capitalism, among many other topics. Media and design trends locate the key ideologies of the current economic moment, with authors considering everything from the austerity aesthetics of reality TV to the seductive smoothness of liquid crystal.
Even as it draws momentous conclusions about global economic phenomena, After Capitalism also pays close attention to locales as varied as Cuba, India, and Latvia, examining the very different ways that economic conditions have affected the relationship between the state and its citizens. Collectively, these essays raise provocative questions about how we should imagine capitalism in the twenty-first century. Will capitalism, like all economic systems, come to an end, or does there exist in history or elsewhere a hidden world that is already post-capitalist, offering alternative possibilities for thought and action?
Arac, Jonathan Rutgers University Press, 1988 Library of Congress B2430.F724A64 1988 | Dewey Decimal 194
The essays in this collection assess the impact of Michel Foucault’s work on the conditions of disciplinary knowledge in humanistic studies and speculate on the directions we might take from his work. They cover a wide range of fundamental concerns: from philosophy of knowledge in both theoretical and applied forms to philology, history, psychoanalysis, feminism, and politics. The result is a lively debate and further probing beyond disciplinary boundaries. After Foucault will interest political theorists, feminists, and scholars of history, philosophy, and literature.
The politics and music of the sixties and early seventies have been the subject of scholarship for many years, but it is only very recently that attention has turned to the cultural production of African American poets.
In "After Mecca," Cheryl Clarke explores the relationship between the Black Arts Movement and black women writers of the period. Poems by Gwendolyn Brooks, Ntozake Shange, Audre Lorde, Nikki Giovanni, Sonia Sanchez, Jayne Cortez, Alice Walker, and others chart the emergence of a new and distinct black poetry and its relationship to the black community's struggle for rights and liberation. Clarke also traces the contributions of these poets to the development of feminism and lesbian-feminism, and the legacy they left for others to build on.
She argues that whether black women poets of the time were writing from within the movement or writing against it, virtually all were responding to it. Using the trope of "Mecca," she explores the ways in which these writers were turning away from white, western society to create a new literacy of blackness.
Provocatively written, this book is an important contribution to the fields of African American literary studies and feminist theory.
After Representation? explores one of the major issues in Holocaust studiesùthe intersection of memory and ethics in artistic expression, particularly within literature.
As experts in the study of literature and culture, the scholars in this collection examine the shifting cultural contexts for Holocaust representation and reveal how writersùwhether they write as witnesses to the Holocaust or at an imaginative distance from the Nazi genocideùarticulate the shadowy borderline between fact and fiction, between event and expression, and between the condition of life endured in atrocity and the hope of a meaningful existence. What imaginative literature brings to the study of the Holocaust is an ability to test the limits of language and its conventions. After Representation? moves beyond the suspicion of representation and explores the changing meaning of the Holocaust for different generations, audiences, and contexts.
What happened in Victorian painting and sculpture after the Pre-Raphaelites? Aestheticism has been called the next avant-garde movement but attention has centered on literary figures such as Algernon Charles Swinburne, Walter Pater, and Oscar Wilde. This volume is the first scholarship study of parallel trends in the visual arts, including the work of Dante Gabriel Rossetti, James McNeill Whistler, Edward Burne-Jones, Simeon Solomon, and Albert Moore among others.
Victorian Aestheticism has often been traded as a frivolous elevation of art above the concerns of political and social life. This book reinterprets Aestheticism as a significant exploration of what it might mean to produce works of art in the modern world. The chapters address not only "art for art's sake" but also linkages with the realms of science and morality. A major concern is the relationship between art and sexuality, from the experiments of the Rossetti circle in the 1860s to the male nude in late-Victorian sculpture. Both homosexual and heterosexual eroticism emerge as key issues in the artistic debates of the late-Victorian period.
As a complement to the existing literature on Pre-Raphaelitism, this collection is essential reading for all students of nineteenth-century art, literature, and culture.
Contributors are: Caroline Arscott, Robyn Asleson, Colin Cruise, Whitney Davis, Kate Flint, Alastair Grieve, Michael Hatt, Anne Koval, Alison Smith, and Robin Spencer
Aftermaths is a collection of essays offering compelling new ideas on exile, migration, and diaspora that have emerged in the global age. The ten contributors—well-established scholars and promising new voices—work in different disciplines and draw from diverse backgrounds as they present rich case studies from around the world. In seeking fresh perspectives on the movement of people and ideas, the essays included here look to the power of the aesthetic experience, especially in literature and film, to unsettle existing theoretical paradigms and enable the rethinking of conventionalized approaches.
Marcus Bullock and Peter Y. Paik, in bringing this collection together, show we have reached a moment in history when it is imperative to question prevailing intellectual models. The interconnectedness of the world's economies, the contributors argue, can exacerbate existing antagonisms or create new ones. With essays by Ihab Hassan, Paul Brodwin, and Helen Fehervary, among others, Aftermaths engages not only with important academic topics but also with the leading political issues of the day.
The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity—precisely after the shock of the new—when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed.
Petro’s essays—some published here for the first time—raise such questions as: What roles do television and other media play in film studies? What is the place of feminist film theory in our conceptions of film history? How is German film theory situated within international film theory?
Rather than continue to sensationalize sensation, Aftershocks of the New aims to lower the volume of debates over the place of cinema within the culture of modernity. And it accomplishes this by locating them within a more complex matrix of contending sensibilities, voices, and impulses.
On 28 March, 1941, at the height of Hitler's victories during the Second World War, Virginia Woolf filled her pockets with stones and drowned herself in the River Ouse near her home in Sussex. At the time of her death some voices in the press attacked her for showing cowardice in the face of the enemy and for setting a bad example to the general population. Woolf's suicide has been the subject of controversy for the media, for literary scholars, and for her biographers ever since.
Just when it may seem that nothing else could be said about Virginia Woolf and the ambiguous details of her suicide, Afterwords provides an entirely fresh perspective. It makes available to a wide readership for the first time letters sent to Leonard Woolf and Vanessa Bell (Virginia Woolf's sister) in the aftermath of the event. This unique volume brings together over two hundred letters from T. S. Eliot, H. G. Wells, May Sarton, Vita Sackville-West, Edith Sitwell, E. M. Forster, Radclyffe Hall, and many others, including political figures and religious leaders. In addition, informative annotations reveal the identities of many unexpected condolence-letter writers from among the general public.
In her introduction, editor Sybil Oldfield confronts the contemporary controversy over Woolf's suicide note, arguing that no one who knew Woolf or her work believed that she had deserted Britain. The ensuing collection of letters supports Oldfield's assertion. In elegant prose that rises to the stature of the occasion, these writers share remembrances of Virginia Woolf in life, comment on the quality of her work and her antifascist values, and reveal previously unknown facets of her capacity for friendship.
A richly deserved tribute to the life of an extraordinary woman as well as a testimony to the human capacity for sympathy, Afterwords is essential reading for anyone interested in the life, death, and enduring impact of Virginia Woolf.
Nearly every middle-aged and older worker, at some time during his or her career, will suffer age discrimination in the workplace. Employers too often use early-retirement plans, restructurings, and downsizings to dismiss older workers. Many of these individuals are unwillingly ushered into earlier-than-planned retirements, are denied promotions, or are terminated. The baby-boomer generation now accounts for just under 50 percent of the entire workforce. A vast army of workers now stands ready to contest employer acts of age discrimination.
Attorney Raymond Gregory addresses himself to the millions of workers who think they might be facing age discrimination and traces the history of the federal measures enacted to assist workers in contesting unlawful employer conduct. He explains how the law works and presents actual court cases to demonstrate the ways that workers have challenged their employers. The cases help to illustrate legal principles in real-life experiences and many of the cases relate compelling stories of workers caught up in a web of employer discriminatory conduct. Gregory has eliminated all legal jargon, ensuring that all concepts are clear to his readers. Individuals will turn to this book again and again to obtain authoritative background on this important topic.
By 2030, over 30% of the Japanese population will be 65 or older, foreshadowing the demographic changes occurring elsewhere in Asia and around the world. What can we learn from a study of the aging population of Japan and how can these findings inform a path forward for the elderly, their families, and for policy makers?
Based on nearly a decade of research, Aging and Loss examines how the landscape of aging is felt, understood, and embodied by older adults themselves. In detailed portraits, anthropologist Jason Danely delves into the everyday lives of older Japanese adults as they construct narratives through acts of reminiscence, social engagement and ritual practice, and reveals the pervasive cultural aesthetic of loss and of being a burden.
Through first-hand accounts of rituals in homes, cemeteries, and religious centers, Danely argues that what he calls the self-in-suspense can lead to the emergence of creative participation in an economy of care. In everyday rituals for the spirits, older adults exercise agency and reinterpret concerns of social abandonment within a meaningful cultural narrative and, by reimagining themselves and their place in the family through these rituals, older adults in Japan challenge popular attitudes about eldercare. Danely’s discussion of health and long-term care policy, and community welfare organizations, reveal a complex picture of Japan’s aging society.
In the ten years since the first cases of AIDS were reported, the disease has spread around the world. Every country has had to come up with policies suited to its own conditions, economy, culture, and institutions. The differences among their approaches are striking. This volume, the first international comprehensive comparison of responses to AIDS, is a unique guide to the world's most urgent public health crisis.
Sixteen leading experts in public health, social science, government, and public policy from USA, Canada, Germany, Australia, Spain, Britain, France, the Netherlands, Denmark, Sweden, and Japan candidly recount and analyze the responses of their own nations and comment on the lessons that can be drawn from each country's experience. For each country, they look critically at the tragic statistics of AIDS incidence; the circumstances of AIDS's first appearance; public health traditions of mandatory screening, contact tracing, and quarantine; attitudes toward drug abuse, homosexuality, sex education; publicity about AIDS; legal and customary protections of civil rights, minority groups, medical confidentiality; access to health care and insurance; and the interplay of formal and informal interest groups in shaping policy. The spectrum of AIDS policy ranges from severe "contain-and-control" programs to much more liberal plans based on education, cooperation, and inclusion.
No matter what policy a nation has constructed to deal with AIDS, the coming decade will test how well that policy conforms to democratic ideals. By scrutinizing the responses to AIDS so far, this book aims to give countries around the world a chance to learn from each others' mistakes and triumphs. It will be essential reading for all students and professionals in public health and public policy.
Aliens Adored is the first full length, in-depth look at the Raëlian movement, a fascinating new religion founded in the 1970s by the charismatic prophet, Raël. Born in France as Claude Vorilhon, the former race-car driver founded the religion after he experienced a visitation from the aliens (the "elohim") who, in his cosmology, created humans by cloning themselves. The millenarian movement awaits the return of the alien creators, and in the meantime seeks to develop the potential of its adherents through free love, sexual experimentation, opposition to nuclear proliferation and war, and the development of the science of cloning.
Sociologist Susan J. Palmer has studied the Raelian movement for more than a decade, observing meetings and rituals and enjoying unprecedented access to the group's leaders as well as to its rank-and-file members. In this pioneering study she provides a thorough analysis of the movement, focusing on issues of sexuality, millenarianism, and the impact of the scientific worldview on religion and the environment. Rael's radical sexual ethics, his gnostic anthropocentrism, and shallow ecotheology offer us a mirror through which we see how our worldview has been shaped by the forces of globalization, postmodernism, and secular humanism.
In a hard driving society like the United States, holidays are islands of softness. Holidays are times for creating memories and for celebrating cultural values, emotions, and social ties. All Together Now considers holidays that are celebrated by American families: Easter, Memorial Day, Independence Day, Halloween, and the December holidays of Christmas or Chanukah. This book shows how entire families bond at holidays, in ways that allow both children and adults to be influential within their shared interaction.
The decorations, songs, special ways of dressing, and rituals carry deep significance that is viscerally felt by even young tots. Ritual has the capacity to condense a plethora of meaning into a unified metaphor such as a Christmas tree, a menorah, or the American flag. These symbols allow children and adults to co-opt the meaning of symbols in flexible and age-relevant ways, all while the symbols are still treasured and shared in common.
Clemence Royer was a 19th-century Frenchwoman probably best known for producing the first French translation of Charles Darwin. However, her efforts went much further, encompassing anthropology, physics, philosophy, cosmology, and chemistry. In this full-scale biography, Harvey, a science historian and former associate editor of Cambridge University's Darwin Correspondence Project, traces Royer's remarkable life.
A feminist who made lifelong enemies almost as readily as she made friends, Royer was never able to undertake formal, advanced education and was a product of her own self-study efforts. Only in her last few years was she formally recognized by several professional societies and awarded the French Legion of Honor. Harvey includes an overview of earlier biographical treatments, the text of an 1874 communication on "Women, Science, and the Birth Rate," and extensive notes.
Marjorie Agosín writes of a beloved childhood nanny: "Since I was Jewish she baptized me with holy water brought forth from the fonts of nearby churches. She told me to stay very still so I wouldn't sprout horns. . . . I was somewhere between taciturn and happy gazing into the mirror as if approaching the edge of a cliff . . . and I watched myself in the deep, transparent veil of this night of all nights." Many of the themes expressed in this vignette—cultural dissonance, family, and community—are poetically intertwined throughout The Alphabet in My Hands. Agosín takes us on a personal journey of discovery that is as much internal reflection as it is an exodus across continents and decades.
Agosín's childhood and early adolescence were spent with her Jewish family in Chile. While her family raised her to regard her Jewish heritage with loving awareness, they also participated in the dominant Catholic culture—an aunt organized Easter egg hunts and her mother admired the beauty of Chile's Catholic churches. The young Agosín became keenly aware of her dual identity in her country, both as a participant and an outsider.
The second half of The Alphabet in My Hands recounts the events that forced her family to emigrate to America: the overthrow of Salvador Allende by General Augusto Pinochet. Agosín writes of her new life in Athens, Georgia, of the sudden loss of all that was familiar. Ostracized as an emigrant—a "non-white" with a strange foreign accent—her high school years were made even more painful by the news from Chile: prisoners taken and classmates disappearing or shot.
Years later, Agosín goes back to Chile and she travels there with her own children. As she stares down at her old homeland from the plane, she writes: "Why do I love this place that forced us into exile, that punished my father for being a Jew?" And in the final chapter of The Alphabet in My Hands, this award-winning poet addresses two important topics: her current residence in New England and the central role of writing and literature in her life.
The discovery in recent years of Louisa May Alcott's pseudonymous sensation stories has made readers and scholars increasingly aware of her accomplishments beyond her most famous novel, Little Women, one of the great international best-sellers of all time. What has been recovered throws new light on the children's books and asks us to question our assumptions about the suposedly staid and sentimental Alcott.
Alternative Alcott includes works never before reprinted, including "How I Went Out to Service," "My Contraband," and "Psyche's Art." It also contains Behind a Mask, her most important sensation story; the full and correct text of her last unfinished novel, Diana and Persis; "Transcendental Wild Oats"; Hospital Sketches; and Alcott's other important texts on nineteenth-century social history. This anthology brings together for the first time a variety of Louisa May Alcott's journalistic, satiric, feminist, and sensation texts. Elaine Showalter has provided an excellent introduction and notes to the collection.
In 1973, San Francisco allergist Ben Feingold created an uproar by claiming that synthetic food additives triggered hyperactivity, then the most commonly diagnosed childhood disorder in the United States. He contended that the epidemic should not be treated with drugs such as Ritalin but, instead, with a food additive-free diet. Parents and the media considered his treatment, the Feingold diet, a compelling alternative. Physicians, however, were skeptical and designed dozens of trials to challenge the idea. The resulting medical opinion was that the diet did not work and it was rejected.
Matthew Smith asserts that those scientific conclusions were, in fact, flawed. An Alternative History of Hyperactivity explores the origins of the Feingold diet, revealing why it became so popular, and the ways in which physicians, parents, and the public made decisions about whether it was a valid treatment for hyperactivity. Arguing that the fate of Feingold's therapy depended more on cultural, economic, and political factors than on the scientific protocols designed to test it, Smith suggests the lessons learned can help resolve medical controversies more effectively.
When Hahnemann Medical College was founded in Philadelphia in 1848, it was the only institution in the world to offer an M. D. degree in homeopathy, a therapeutic and intellectual alternative to orthodox medicine. This institutional history situates Hahnemann in the broader context of American social changes and chronicles its continual remaking in response to the rise of corporate medicine and constant changes in the Philadelphia community. In the nineteenth century, Hahnemann provided a distinctive and respected identity for its faculty, students, and supporters. In the early twentieth century, it accepted students denied admission elsewhere, especially Jewish and Italian students. It taught a flexible homeopathy that facilitated curricular changes remarkably similar to those at the best contemporary orthodox schools, including selective assimilation of the new experimental sciences, laboratory training, experience in the school's own teaching hospital, and a lengthened course of medical study. Hahnemann is no longer homeopathic, although it remained loyal to its alternative heritage long after the 1910 Flexner Report attempted to eliminate alternative medical education in America. Like many other American medical schools, Hahnemann has had its share of problems, financial and otherwise. The civil rights and radical student movements of the 1960s and 70s, however, pushed the College into a more politically conscious view of itself as a health care provider to the inner city and as a producer of health professionals. In 1993, the College merged with another Philadelphia medical school into a single health care and training institution called the Allegheny University of the HealthSciences. Although Hahnemann is now part of a new system of academic medicine, its institutional legacy endures, as it has in the past, by following alternative paths.
A widely held vision of nineteenth-century American women is of lives lived in naive, domestic peace—the girls of Little Women making do until father comes home from the war. Nothing could be less true of Harriet Prescott Spofford's stories. In fact, her editor at the Atlantic Monthly at first refused to believe that an unworldly woman from New England had written them. Her style, though ornate by our 20th century standards, adds to its atmosphere, like heavy, Baroque furniture in a large and creepy house.
The title story presents a self-centered and captivating woman who ruthlessly steals her orphan cousin's lover. In "Circumstance," a pioneer woman returning home through the woods at night is caught by a panther; her husband, who has come to save her, can only watch from the ground as she sings for her life, pinned in a tree. A train engineer hallucinates again and again that he is running over his wife. And Mrs. Craven, who's a bit "weak" in the head, mindlessly repeats "Three men went down cellar and only two came up." These stories combine elements of the best ghost stories—timing, detail, and character —with just enough chill to make you think twice about turning out your lights at night.
Jenny Huberman provides an ethnographic study of encounters between western tourists and the children who work as unlicensed peddlers and guides along the riverfront city of Banaras, India. She examines how and why these children elicit such powerful reactions from western tourists and locals in their community as well as how the children themselves experience their work and render it meaningful.
Ambivalent Encounters brings together scholarship on the anthropology of childhood, tourism, consumption, and exchange to ask why children emerge as objects of the international tourist gaze; what role they play in representing socio-economic change; how children are valued and devalued; why they elicit anxieties, fantasies, and debates; and what these tourist encounters teach us more generally about the nature of human interaction. It examines the role of gender in mediating experiences of social change—girls are praised by locals for participating constructively in the informal tourist economy while boys are accused of deviant behavior. Huberman is interested equally in the children’s and adults’ perspectives; her own experiences as a western visitor and researcher provide an intriguing entry into her interpretations.
This selection is the first statewide collection of life histories from the Social-Ethnic Studies program of the Federal Writers's Project. They represent for ethnic history what the more famous Federal Writers' Project's Slave Narratives have meant for African-American history.
“Wall traces the nursing and management roles of nuns and brothers in church-related US health care institutions. This well-documented volume will be a useful addition for collections supporting academic programs in public health, hospital administration, bioethics, and divinity, and for comprehensive collections in the history of medicine. Recommended.” —Choice
“American Catholic Hospitals is fair, balanced, insightful, and intriguing. The story Wall tells—a story about a significant segment of the US health care system—is meticulously documented. Readers will find her study to be illuminating, even inspirational.” —Journal of the American Medical Association
“In American Catholic Hospitals, Barbra Mann Hall traces the ways Catholic hospitals have accommodated changes both within the church and in society over the last century. Her book is well researched and a fascinating read.” —Health Progress
“Wall presents a compelling and well-documented narrative of the dynamic transformation of Catholic hospitals in twentieth-century America. Drawing on records from Catholic congregations throughout the United States, she reveals an admirable perseverance of religious caregivers, demonstrated by their willingness to adapt to socioeconomic forces often inimical to charitable care.” —American Catholic Studies
“American Catholic Hospitals is meticulously researched and well written. Although it is certainly appropriate for both undergraduate and graduate students, general readers also will find it to be an excellent overview of the history of the changes that Catholic health-care institutions have undergone in the twentieth and twenty-first centuries.” —Catholic Historical Review
“American Catholic Hospitals offers a tremendous amount of new material and refreshing perspectives on current health care system challenges in the United States.” —Sioban Nelson, Bloomberg Faculty of Nursing, University of Toronto
“Wall provides solid scholarship and engaging insight into the historic and contemporary contributions of American Catholic hospitals and their ability to adapt and serve amid the changing landscapes of church and state, culture wars, and healthcare reforms of the 20th century.” —Carol K. Coburn, author of Spirited Lives: How Nuns Shaped Catholic Culture and American Life, 1836-1920
From the time that the infant colonies broke away from the parent country to the present day, narratives of U.S. national identity are persistently configured in the language of childhood and family. In The American Child: A Cultural Studies Reader, contributors address matters of race, gender, and family to chart the ways that representations of the child typify historical periods and conflicting ideas. They build on the recent critical renaissance in childhood studies by bringing to their essays a wide range of critical practices and methodologies.
Although the volume is grounded heavily in the literary, it draws on other disciplines, revealing that representations of children and childhood are not isolated artifacts but cultural productions that in turn affect the social climates around them. Essayists look at games, pets, adolescent sexuality, death, family relations, and key texts such as The Adventures of Huckleberry Finn and the movie Pocahontas; they reveal the ways in which the figure of the child operates as a rich vehicle for writers to consider evolving ideas of nation and the diverse role of citizens within it.
What is happening to American youth today? There is a mountain of statistics gathered about our children, but it is often hard to know what the numbers mean. Dona Schneider argues that "sound- bite statistics" on teenage pregnancy or child abuse can mislead us and create bad public policy. But a closer look at those same statistics can give us a window on tomorrow's public health and social problems.
To show how the statistics can both disguise and highlight problems, Schneider alternates a discussion of the numbers with vivid encounters with individual children and adults: the middle-class black high school student's offhand explanation about how to get a gun; a vital statistics bureau worker's astonishment at his own classification as Hispanic; a young woman's pleasure in holding down a job after teachers dismissed her as learning disabled; and a latchkey child's nightmare of coming home from school to an empty house when she was sick.
This book guides us through the morass of numbers bandied about to describe the state of America's children—what the numbers tell us and what they don't—and it offers a call for action. Comprehensive in its treatment of all groups of children and accessible in style, this book is essential for anyone concerned about children in American society.
At the turn of the twentieth century, cinema was quickly establishing itself as a legitimate form of popular entertainment.
The essays in American Cinema 1890-1909 explore and define how the making of motion pictures flowered into an industry that would finally become the central entertainment institution of the world. Beginning with all the early types of pictures that moved, this volume tells the story of the invention and consolidation of the various processes that gave rise to what we now call "cinema." By examining the battles over patents, production, exhibition, and the reception of film, readers learn how going to the movies became a social tradition in American society.
In the course of these two decades, cinema succeeded both in establishing itself among other entertainment and instructional media and in updating various forms of spectacle.
It was during the teens that filmmaking truly came into its own. Notably, the migration of studios to the West Coast established a connection between moviemaking and the exoticism of Hollywood.
The essays in American Cinema of the 1910s explore the rapid developments of the decade that began with D. W. Griffith's unrivaled one-reelers. By mid-decade, multi-reel feature films were profoundly reshaping the industry and deluxe theaters were built to attract the broadest possible audience. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks became vitally important and companies began writing high-profile contracts to secure them. With the outbreak of World War I, the political, economic, and industrial groundwork was laid for American cinema's global dominance. By the end of the decade, filmmaking had become a true industry, complete with vertical integration, efficient specialization and standardization of practices, and self-regulatory agencies.
During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to "race films") appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy.
In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era.
Probably no decade saw as many changes in the Hollywood film industry and its product as the 1930s did. At the beginning of the decade, the industry was still struggling with the transition to talking pictures. Gangster films and naughty comedies starring Mae West were popular in urban areas, but aroused threats of censorship in the heartland. Whether the film business could survive the economic effects of the Crash was up in the air. By 1939, popularly called "Hollywood's Greatest Year," films like Gone With the Wind and The Wizard of Oz used both color and sound to spectacular effect, and remain American icons today. The "mature oligopoly" that was the studio system had not only weathered the Depression and become part of mainstream culture through the establishment and enforcement of the Production Code, it was a well-oiled, vertically integrated industrial powerhouse.
The ten original essays in American Cinema of the 1930s focus on sixty diverse films of the decade, including Dracula, The Public Enemy, Trouble in Paradise, 42nd Street, King Kong, Imitation of Life, The Adventures of Robin Hood, Swing Time, Angels with Dirty Faces, Nothing Sacred, Jezebel, Mr. Smith Goes toWashington, and Stagecoach .
The 1940s was a watershed decade for American cinema and the nation. Shaking off the grim legacy of the Depression, Hollywood launched an unprecedented wave of production, generating some of its most memorable classics, including Citizen Kane, Rebecca, The Lady Eve, Sergeant York, and How Green Was My Valley. In 1942, Hollywood joined the national war effort with a vengeance, creating a series of patriotic and escapist films, such as Casablanca, Mrs. Miniver, The Road to Morocco, and Yankee Doodle Dandy.
With the end of the war, returning GIs faced a new America, in which the country had been transformed overnight. Film noir reflected a new public mood of pessimism and paranoia, in such classic films of betrayal and conflict as Kiss of Death, Force of Evil, Caught, and Apology for Murder, depicting a poisonous universe of femme fatales, crooked lawyers, and corrupt politicians.
With the threat of the atom bomb lurking in the background and the beginnings of the Hollywood Blacklist, the 1940s was a decade of crisis and change. Featuring essays by a group of respected film scholars and historians, American Cinema of the 1940s brings this dynamic and turbulent decade to life. Illustrated with many rare stills and filled with provocative insights, the volume will appeal to students, teachers, and to all those interested in cultural history and American film of the twentieth century.
From cold war hysteria and rampant anticommunist witch hunts to the lure of suburbia, television, and the new consumerism, the 1950s was a decade of sensational commercial possibility coupled with dark nuclear fears and conformist politics. Amid this amalgamation of social, political, and cultural conditions, Hollywood was under siege: from the Justice Department, which pressed for big film companies to divest themselves of their theater holdings; from the middleclass, whose retreat to family entertainment inside the home drastically decreased the filmgoing audience; and from the House Un-American Activities Committee, which was attempting to purge the country of dissenting political views. In this difficult context, however, some of the most talented filmmakers of all time, including John Ford, Alfred Hitchcock, Vincente Minnelli, Nicholas Ray, and Billy Wilder produced some of their most remarkable work.
Bringing together original essays by ten respected scholars in the field, American Cinema of the 1950s explores the impact of the cultural environment of this decade on film, and the impact of film on the American cultural milieu. Contributors examine the signature films of the decade, including From Here to Eternity, Sunset Blvd., Singin' in the Rain, Shane, Rear Window, and Rebel Without a Cause, as well as lesser-known but equally compelling films, such as Dial 1119, Mystery Street, Suddenly, Summer Stock, The Last Hunt, and many others.
Provocative, engaging, and accessible to general readers as well as scholars, this volume provides a unique lens through which to view the links between film and the prevailing social and historical events of the decade.
The profound cultural and political changes of the 1960s brought the United States closer to social revolution than at any other time in the twentieth century. The country fragmented as various challenges to state power were met with increasing and violent resistance. The Cold War heated up and the Vietnam War divided Americans. Civil rights, women's liberation, and gay rights further emerged as significant social issues. Free love was celebrated even as the decade was marked by assassinations, mass murders, and social unrest.
At the same time, American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Among the challenges faced by the film industry was the dawning shift in theatrical exhibition from urban centers to surburban multiplexes, an increase in runaway productions, the rise of independent producers, and competition from both television and foreign art films. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time.
In ten original essays, American Cinema of the 1960s examines a range of films that characterized the decade, including Hollywood movies, documentaries, and independent and experimental films. Among the films discussed are Elmer Gantry, The Apartment, West Side Story, The Manchurian Candidate, To Kill aMockingbird, Cape Fear, Bonnie and Clyde, 2001: A Space Odyssey, Midnight Cowboy, and Easy Rider.
A smug glance at the seventies—he so-called "Me Decade"—unveils a kaleidoscope of big hair, blaring music, and broken politics—all easy targets for satire, cynicism, and ultimately even nostalgia. American Cinema of the 1970s, however, looks beyond the strobe lights to reveal how profoundly the seventies have influenced American life and how the films of that decade represent a peak moment in cinema history.
Far from a placid era, the seventies was a decade of social upheavals. Events such as the killing of students at Kent State and Jackson State universities, the Watergate investigations, the legalization of abortion, and the end of the American involvement in Vietnam are only a few among the many landmark occurrences that challenged the foundations of American culture. The director-driven movies of this era reflect this turmoil, experimenting with narrative structures, offering a gallery of scruffy antiheroes, and revising traditional genre conventions.
Bringing together ten original essays, American Cinema of the 1970s examines the range of films that marked the decade, including Jaws, Rocky, Love Story, Shaft, Dirty Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi Driver, Star Wars, Saturday Night Fever, Kramer vs. Kramer,and Apocalypse Now .
During the 1980s, American cinema underwent enormous transformations. Blockbusters like Raiders of the Lost Ark, E.T., and The Empire Strikes Back grabbed huge revenues for the studios. At the same time, the growth of home video led to new and creative opportunities for independent film production, resulting in many of the decade's best films. Both large- and small-scale filmmakers responded to the social, political, and cultural conditions of the time. The two-term presidency of Ronald Reagan spawned a new Cold War with the Soviet Union, which Hollywood film both embraced and critiqued. Also during this time, Hollywood launched a long-awaited cycle of films about the Vietnam War, exploring its impact both at home and abroad. But science fiction remained the era's most popular genre, ranging from upbeat fantasies to dark, dystopic visions.
Bringing together original essays by ten respected scholars in the field, American Cinema of the 1980s examines the films that marked the decade, including Ordinary People, Body Heat, Blade Runner, Zelig, Platoon, Top Gun, Aliens, Blue Velvet, Robocop, Fatal Attraction, Die Hard, Batman, and sex, lies & videotape.
With the U.S. economy booming under President Bill Clinton and the cold war finally over, many Americans experienced peace and prosperity in the nineties. Digital technologies gained popularity, with nearly one billion people online by the end of the decade. The film industry wondered what the effect on cinema would be.
The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate.
The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies.
Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.
Mainstream notions of the “American Dream” usually revolve around the ownership of private property, a house of one’s own. Yet for the past 400 years, a large number of Americans have dared to dream bigger and bolder, choosing to live in intentional communities that pooled resources, and they worked to ensure the well-being of all their members.
American Community takes us inside forty of the most interesting intentional communities in the nation’s history, from the colonial era to the present day. You will learn about such little-known experiments in cooperative living as the Icarian communities, which took the utopian ideas expounded in a 1840 French novel and put them into practice, ultimately spreading to five states over fifty years. Plus, it covers more recent communities such as Arizona’s Arcosanti, designed by architect Paolo Soleri as a model for ecologically sustainable living.
In this provocative and engaging book, Mark Ferrara guides readers through an array of intentional communities that boldly challenged capitalist economic arrangements in order to attain ideals of harmony, equality, and social justice. By shining a light on these forgotten histories, it shows that far from being foreign concepts, communitarianism and socialism have always been vital parts of the American experience.
The American country club movement parallels the rise of suburbanization in the United States. Its roots can be found in the exclusive city clubs and summer resorts of the nineteenth century; its growth reflects a desire for permanent and organized places where the wealthy could spend their leisure time. By the late nineteenth century, mass transportation enabled the wealthy to escape the confines of the city, and suburbanization began. Their pursuit of leisure—in the form of city clubs, spas, summer resorts, and elite sports—became the foundation for the country club. Country clubs provided places where the elite could combine their interests in sports, the outdoors, and leisure while separating themselves from those they considered non-elite. The American Country Club chronicles the social and economic evolution of this elite leisure landscape.
The founding clubs were makeshift landscapes that took advantage of existing conditions, but in the early twentieth century, standard club practices emerged. Clubhouse design, golf course layouts, financial arrangements, and the rise of club management furthered the country club movement. Residential developers also learned to use the country club as a way to organize their elite subdivisions and to sell homes. But the Depression and World War II stifled the growth of country clubs. Eventually the country club movement regained its momentum, and corporations began to develop country clubs to meet the growing demand for club life and to treat the country club as a revenue source.
Some critics feel that the country club addresses a basic liberty of social choice whereas others view it as an unnecessary source of social discrimination. Beyond these positions, James Mayo argues that our nation’s political economy is reflected in the country club, which simultaneously thrives as a business and provides social status for its members.
The papers in this volume represent original work to celebrate the centenary of the American Society of Zoologists. They illustrate the impressive nature of historical scholarship that has subsequently focused on the development of biology in the United States.
One man was tongue-tied and awkward around women, in many ways a mama's boy at heart, although his reputation for thuggery was well earned. The other was a playboy, full of easy charm and ready jokes, his appetite for high living a matter of public record. One man tolerated gangsters and bootleggers as long as they paid their dues to his organization. The other was effectively a gangster himself, so crooked that he hosted a national gathering of America's most ruthless killers. One man never drank alcohol. The other, from all evidence, seldom drank anything else.
American Dictators is the dual biography of two of America’s greatest political bosses: Frank Hagueand Enoch “Nucky” Johnson. Packed with compelling information and written in an informal, sometimes humorous style, the book shows Hague and Johnson at the peak of their power and the strength of their political machines during the years of Prohibition and the Great Depression. Steven Hart compares how both men used their influence to benefit and punish the local citizenry, amass huge personal fortunes, and sometimes collaborate to trounce their enemies.
Similar in their ruthlessness, both men were very different in appearance and temperament. Hague, the mayor of Jersey City, intimidated presidents and wielded unchallenged power for three decades. He never drank and was happily married to his wife for decades. He also allowed gangsters to run bootlegging and illegal gambling operations as long as they paid protection money. Johnson, the political boss of Atlantic City, and the inspiration for the hit HBO series Boardwalk Empire, presided over corruption as well, but for a shorter period of time. He was notorious for his decadent lifestyle. Essentially a gangster himself, Johnson hosted the infamous Atlantic City conference that fostered the growth of organized crime.
Both Hague and Johnson shrewdly integrated otherwise disenfranchised groups into their machines and gave them a stake in political power. Yet each failed to adapt to changing demographics and circumstances. In American Dictators, Hart paints a balanced portrait of their accomplishments and their failures.
The United States, it is often said, is one of the most ethnically diverse countries in the world. But what, precisely, do we mean when we speak of “ethnic” groups or “ethnicity”? What is the distinction, for example, between “race” and “ethnicity”? How do various groups meld with the rest of American society? Should we think in terms of assimilation, integration, pluralism, or some other relationship between ethnic groups and the mainstream? It is these and many other questions that Jason J. McDonald tackles in this timely and insightful book.
Chapters explore a range of topics, including how different ethnic groups arrived in the United States—whether through violence and coercion or willing immigration; the peculiar identification of Native Americans as “ethnic,” despite the fact that they are indigenous to the land; whether the American public’s attitudes toward and treatment of difference has been consistent with the nation’s professed egalitarian ideals; and how factors such as language, religion, class, gender, and intermarriage play in either strengthening or weakening ethnic identity and group solidarity.
An engaging and critical look at a term that remains stubbornly ambiguous in both scholarly discussion and the vernacular, this book makes an important contribution to the ongoing debates about “difference” in American society.
American families today are noted for their wide variety of guises. Among the mix are single-parent families, childless-by-choice marriages, nuclear families, multigenerational families, and same-sex couples. Although this diversity has come under the scrutiny of everyone from politicians to the media, family diversity is not a recent development of contemporary culture. While nuclear families with a mother, a father, and children are the presumed historical norm, people have always resided in an assortment of family formations.
Bringing together essays by twenty-one distinguished scholars who have helped shape the field of family sociology in the last decade, this interdisciplinary anthology examines variation within family experience, especially as it has evolved across racial, ethnic, social, gender, and generational lines. The essays place historical and institutional frameworks at the center of the discussion.
The first part of the book focuses on the development of socially constructed dominant ideologies, demographic shifts in family composition, and historical perspectives on family rituals and mythmaking. Essays in the second part provide a historical perspective on the interdependence between the family as a social institution and other institutions. Selections highlight changes in women’s roles, the impact of economic, racial, and social inequalities on household labor and child care, the effects of war and military service, and the implications of the political climate for family welfare policy.
In-depth chapter introductions along with critical questions to spark class discussion make this an ideal text for courses focusing on family composition, trends, and controversies in the United States.
American Girls and Global Responsibility brings together insights from Cold War culture studies, girls’ studies, and the history of gender and militarization to shed new light on how age and gender work together to form categories of citizenship.
Jennifer Helgren argues that a new internationalist girl citizenship took root in the country in the years following World War II in youth organizations such as Camp Fire Girls, Girl Scouts, YWCA Y-Teens, schools, and even magazines like Seventeen. She shows the particular ways that girls’ identities and roles were configured, and reveals the links between internationalist youth culture, mainstream U.S. educational goals, and the U.S. government in creating and marketing that internationalist girl, thus shaping the girls’ sense of responsibilities as citizens.
Hollywood has always been fascinated by America's past, but never more so than in the past fifteen years. Bringing exciting new perspectives to how and why Hollywood has sought to repicture American history, this book offers analysis of more than twenty mainstream contemporary films, including The Patriot, Amistad, Glory, Ride with the Devil, Cold Mountain, Saving Private Ryan, TheThin Red Line, Pearl Harbor, U-571, Platoon, Born on the Fourth of July, Heaven and Earth, JFK, Nixon, Malcolm X, Ali, Black Hawk Down, and Three Kings.
Both authoritative and engaging, American History and Contemporary Hollywood Film is the first book to comprehensively explore the post-cold war period of filmmaking, and to navigate the complex ways that film mediates history-sometimes challenging or questioning, but more frequently reaffirming traditional interpretations. The authors consider why such films are becoming increasingly integral to the ambitions of a globally focused American film industry.
Structured by historical periods, chapters cover significant events and eras such as the American Revolution, slavery and the Civil War, World War II, the sixties and seventies, civil rights and black nationalism, the Vietnam War, and post-cold war global conflicts. The lessons learned from the examples will be illuminating for general readers and college students alike.
American Hybrid Poetics explores the ways in which hybrid poetics—a playful mixing of disparate formal and aesthetic strategies—have been the driving force in the work of a historically and culturally diverse group of women poets who are part of a robust tradition in contesting the dominant cultural order. Amy Moorman Robbins examines the ways in which five poets—Gertrude Stein, Laura Mullen, Alice Notley, Harryette Mullen, and Claudia Rankine—use hybridity as an implicitly political strategy to interrupt mainstream American language, literary genres, and visual culture, and expose the ways in which mass culture in the twentieth and twenty-first centuries has had a powerfully standardizing impact on the collective American imagination. By forcing encounters between incompatible traditions—consumer culture with the avant-garde, low culture forms with experimental poetics, prose poetry with linguistic subversiveness—these poets bring together radically competing ideologies and highlight their implications for lived experience. Robbins argues that it is precisely because these poets have mixed forms that their work has gone largely unnoticed by leading members and critics in experimental poetry circles.
At the turn of the twentieth century, M. E. Ravage set off in steerage for America, one of almost two million Jews who, like millions of others from eastern and southern Europe, were lured by tales of worldly success. Seventeen years after arriving on Ellis Island, Ravage had mastered a new language, found success in college, and engagingly penned in English this vivid account of the ordeals and pleasures of departure and assimilation.
Steven G. Kellman brings Ravage's story to life again in this new edition, providing a brief biography and introduction that place the memoir within historical and literary contexts. An American in the Making contributes to a broader understanding of the global notion of "America" and remains timely, especially in an era when massive immigration, now from Latin America and Asia, challenges ideas of national identity.
From the prestige films of Cagney Productions to recent, ultra-low budget cult hits, such as Clerks and The Blair Witch Project, American independent cinema has produced some of the most distinctive films ever made. This comprehensive introduction draws on key films, filmmakers, and film companies from the early twentieth century to the present to examine the factors that shaped this vital and evolving mode of filmmaking.
Specifically, it explores the complex and dynamic relations between independent and mainstream Hollywood cinema, showing how institutional, industrial, and economic changes in the latter have shaped and informed the former. Ordered chronologically, the book begins with Independent Filmmaking in the Studio Era (examining both top-rank and low-end film production), moves to the 1950s and 1960s (discussing both the adoption of independent filmmaking as the main method of production as well as exploitation filmmaking), and finishes with contemporary American independent cinema (exploring areas such as the New Hollywood, the rise of mini-major and major independent companies and the institutionalization of independent cinema in the 1990s). Each chapter includes case studies which focus on specific films, filmmakers, and production and distribution companies.
The American labor movement seemed poised on the threshold of unparalleled success at the beginning of the post-World War II era. Fourteen million strong in 1946, unions represented thirty five percent of non-agricultural workers. Why then did the gains made between the 1930s and the end of the war produce so few results by the 1960s?
This collection addresses the history of labor in the postwar years by exploring the impact of the global contest between the United States and the Soviet Union on American workers and labor unions. The essays focus on the actual behavior of Americans in their diverse workplaces and communities during the Cold War. Where previous scholarship on labor and the Cold War has overemphasized the importance of the Communist Party, the automobile industry, and Hollywood, this book focuses on politically moderate, conservative workers and union leaders, the medium-sized cities that housed the majority of the population, and the Roman Catholic Church. These are all original essays that draw upon extensive archival research and some upon oral history sources.
Wade Clark Roof and William McKinney argue that a new voluntarism is slowly eroding the old social and economic boundaries that once defined and separated religious groups and is opening new cleavages along moral and life-style lines. Nowhere has the impact of these changes been more profoundly felt than by the often-overlooked religious communities of the American center, or mainline--Protestant, Catholic, and Jewish.
"American Mainline Religion" provides a new "mapping" of the families of American religion and the underlying social, cultural, and demographic forces that will reshape American religion in the century to come. Going beyond the headlines in daily newspapers, Roof and McKinney document the decline of the Protestant establishment, the rise of a more assimilated and public-minded Roman Catholicism, the place of black Protestantism and Judaism, and the resurgence of conservative Protestantism as a religious and cultural force.
As American Melancholy reveals, if you read about depression anywhere today—medical journal, popular magazine, National Institute of Mental Health pamphlet, or pharmaceutical company drug promotional literature--you will find three main pieces of information either explicitly stated or strongly implied: depression is a disease (like any other physical disease); it is extraordinarily prevalent in the world; and it occurs about twice as frequently in women as in men. Yet, depression was not classified as a disease until the 1980 publication of the American Psychiatric Association's Diagnostic and Statistical Manual-III (DSM-III). How is it that such an illness, thought to affect between 14 and 17 million Americans, was not specifically defined until the late twentieth century?
American Melancholy traces the growth of depression as an object of medical study and as a consumer commodity and illustrates how and why depression came to be such a huge medical, social, and cultural phenomenon. It is the first book to address gender issues in the construction of depression, explores key questions of how its diagnosis was developed, how it has been used, and how we should question its application in American society.
In North America between 1894 and 1930, the rise of the “New Woman” sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces.
Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman’s prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.
Winner of the 1996 Dexter Prize from the Society for the History of Technology and a 1996 Choice Outstanding Academic Book
“A splendid history of plastic. The book is authoritative, thorough, interdisciplinary, and intriguing. . . [Meikle] traces the course of plastics from 19th–century celluloid and the fist wholly synthetic bakelite, in 1907, through the proliferation of compounds (vinyls, acrylics, polystyrene, nylon, etc.) and recent ecological concerns. . . .Interested readers of whatever predisposition will likely enjoy this comprehensive and thoughtful treatise.”—Publishers Weekly
“A landmark account. . . . He combines a first–rate technological history with a most impressive cultural analysis of how plastics evolved from a material surrounded by utopian expectations to a material epitomizing inferiority and eventually to a part of everyday life. . . . One of the most significant works ever written in the history of American technology and culture.”
“[A] truly outstanding work . . . here is a work of intellectual strength written with great literary style. . . . This significant work is likely to be widely cited in academic circles, defining the field for a generation of readers. Don’t let it pass you by! An extraordinary contribution, for all levels of readers.”—Choice
“This is real interdisciplinary work, roaming in focus, adaptive in method.”—Journal of American History
“This scholarly and comprehensive work . . . is nontechnical and emphasizes the social and cultural impact of plastics. . . . Highly recommended for anyone with an interest in understanding contemporary society.”—Library Journal
The only comprehensive and up-to-date look at Reform Judaism, this book analyzes the forces currently challenging the Reform movement, now the largest Jewish denomination in the United States.
To distinguish itself from Orthodox and Conservative Judaism, the Reform movement tries to be an egalitarian, open, and innovative version of the faith true to the spirit of the tradition but nonetheless fully compatible with modern secular life. Promoting itself in this way, Reform Judaism has been tremendously successful in recruiting a variety of people—intermarried families, feminists, gays and lesbians, and interracial families among others—who resist more traditional forms of worship.
As an unintended result of this success, the movement now struggles with an identity crisis brought on by its liberal theology, which teaches that each Jew is free to practice Judaism more or less as he or she pleases. In the absence of the authority that comes from a theology based on a commanding, all-powerful God, can Reform Judaism continue to thrive? Can it be broadly inclusive and still be uniquely and authentically Jewish?
Taking this question as his point of departure, Dana Evan Kaplan provides a broad overview of the American Reform movement and its history, theology, and politics. He then takes a hard look at the challenges the movement faces as it attempts to reinvent itself in the new millennium. In so doing, Kaplan gives the reader a sense of where Reform Judaism has come from, where it stands on the major issues, and where it may be going.
Addressing the issues that have confronted the movement—including the ordination of women, acceptance of homosexuality, the problem of assimilation, the question of rabbinic officiation at intermarriages, the struggle for acceptance in Israel, and Jewish education and others—Kaplan sheds light on the connection between Reform ideology and cultural realities. He unflinchingly, yet optimistically, assesses the movement’s future and cautions that stormy weather may be ahead.
Battles were fought in many colonies during the American Revolution, but New Jersey was home to more sustained and intense fighting over a longer period of time. The nine essays in The American Revolution in New Jersey, depict the many challenges New Jersey residents faced at the intersection of the front lines and the home front.
Unlike other colonies, New Jersey had significant economic power in part because of its location between the major ports of New York and Philadelphia. New people and new ideas arriving in the colony fostered tensions between Loyalists and Patriots that were at the core of the Revolution. Enlightenment thinking shaped the minds of New Jersey’s settlers as they began to question the meaning of freedom in the colony. Yeoman farmers demanded ownership of the land they worked on and members of the growing Quaker denomination decried the evils of slavery and spearheaded the abolitionist movement in the state. When larger portions of New Jersey were occupied by British forces early in the war, the unity of the state was crippled, pitting neighbor against neighbor for seven years.
The essays in this collection identify and explore the interconnections between the events on the battlefield and the daily lives of ordinary colonists during the Revolution. Using a wide historical lens, the contributors to The American Revolution in New Jersey capture the decades before and after the conflict as they interpret the causes of the war and the consequences of New Jersey’s reaction to the Revolution.
The predecessors of Durkheim, Freud, and Kraepelin, distrusting explanations based on specific causation, had assumed that suicide like other diseases was a consequence of the interaction of emotional, constitutional, and habitual imbalances. The way a person lived, ate, and felt was viewed as inseparable from the course and outcome of any disorder. For the nineteenth-century physician, the moral issues that suicide raised could not be isolated from its constitutional components. Thus, those who exhibited suicidal tendencies were subjected to an amalgamation of pharmacological, social, and psychological interventions, which practioners labeled the "moral treatment."
By the 1890s, however, the consensus about the causes of suicide became unglued as a bacteriological medicine and the rise of the social sciences jointly served to call into question eclectic diagnoses. The renewed doctrine of specific causation of disease quickly spilled over into a constellation of explanataions for social behavior. The rise of specialization, which followed the bacteriological revolution of the 1880s, made the moral treatment appear scientifically suspect.
The goal of American Suicide is to demonstrate how the apparent contradictions among sociological, psychoanalytic, and neurobiological explanations of the etiology of suicide may be resolved. Only througha reintegration of culture, psychology, and biology can we begin to construct a satisfactory answer to the questions first raised by Durkheim, Freud, and Kraepelin.
American War Stories asks readers to contemplate what traditionally constitutes a “war story” and how that constitution obscures the normalization of militarism in American culture. The book claims the traditionally narrow scope of “war story,” as by a combatant about his wartime experience, compartmentalizes war, casting armed violence as distinct from everyday American life. Broadening “war story” beyond the specific genres of war narratives such as “war films,” “war fiction,” or “war memoirs,” American War Stories exposes how ingrained militarism is in everyday American life, a condition that challenges the very democratic principles the United States is touted as exemplifying.
The American Woman's Home
Beecher, Catharine E Rutgers University Press, 2002 Library of Congress TX145.B4 2002 | Dewey Decimal 640
The American Womans Home, originally published in 1869, was one of the late nineteenth centurys most important handbooks of domestic advice. The result of a collaboration by two of the eras most important writers, this book represents their attempt to direct womens acquisition and use of a dizzying variety of new household consumer goods available in the postCivil War economic boom. It updates Catharine Beechers influential Treatise on Domestic Economy (1841) and incorporates domestic writings by Harriet Beecher Stowe first published in The Atlantic in the 1860s.
Today, the book can be likened to an anthology of household hints, with articles on cooking, decorating, housekeeping, child-rearing, hygiene, gardening, etiquette, and home amusements. The American Womans Home, almost a bible on domestic topics for Victorian women, illuminates womens roles a century and a half ago and can be used for comparison with modern theories on the role of women in the home and in society. Illustrated with the original engravings, this completely new edition offers a lively introduction by Nicole Tonkovich and notes linking the text to important historical, social, and cultural events of the late nineteenth century
Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.
The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.
Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.
During the nineteenth century, the content and institutional organization of the sciences evolved dramatically, altering the public's understanding of knowledge. As science grew in importance, many women of letters tried to incorporate it into a female worldview. Nina Baym explores the responses to science displayed in a range of writings by American women. Conceding that they could not become scientists, women insisted, however, that they were capable of understanding science and participating in its discourse. They used their access to publishing to advocate the study and transmission of scientific information to the general public.
Bayms book includes biographies and a full exploration of these women's works. Among those considered are:
• Almira Phelps, author of Familiar Lectures on Botany (it sold 350,000 copies)
• Sarah Hale, who filled Godey's Lady's Book with science articles
• Catharine Esther Beecher, who based her domestic advice on scientific information
• Elizabeth Cary Agassiz, the actual ghostwriter of her husband's popular science essays
• Emily Dickinson, whose poetry is replete with scientific images.
Baym also investigates science in women's novels, writing by and about women doctors, and the scientific claims advanced by women's spiritualist movements. This book truly breaks new ground, outlining a field of inquiry that few have noted exists.
This publication marks the first time in a hundred years that a wide range of nineteenth-century American women's poetry has been accessible to the general public in a single volume. Included are the humorous parodies of Phoebe Cary and Mary Weston Fordham and the stirring abolitionist poems of Lydia Sigourney, Frances Harper, Maria Lowell, and Rose Terry Cooke. Included, too, are haunting reflections on madness, drug use, and suicide of women whose lives, as Cheryl Walker explains, were often as melodramatic as the poems they composed and published. In addition to works by more than two dozen poets, the anthology includes ample headnotes about each author's life and a brief critical evaluation of her work. Walker's introduction to the volume provides valuable contextual material to help readers understand the cultural background, economic necessities, literary conventions, and personal dynamics that governed women's poetic production in the nineteenth century.
Gaudy, intoxicating, bright, loud, lucrative, and altogether American: they are our nation's boardwalks. The boardwalk was first invented for utilitarian reasons-so that beach-goers could stroll along the shore in their evening wear without tracking sand into train cars or hotel lobbies. But it wasn't long before the imagination of a country just becoming acquainted with the concept of leisure time transformed the boardwalk into something much more.
In America's Boardwalks, James Lilliefors takes us on a journey along the edges of the country to twelve of its most famous beach towns. Starting in the Northeast with Coney Island, Asbury Park, Atlantic City, Wildwood, and Cape May, we continue south to Rehoboth Beach; Ocean City, Maryland; Virginia Beach; Myrtle Beach; and Daytona Beach. In California, we explore the exotic scenes at Venice Beach and Santa Cruz. Lilliefors traces each town's history from the building of a boardwalk to what are frequently ambitious plans to revitalize and redevelop today. In every case, he shows how the boardwalk has been integral to the area's economic growth, status, and appeal.
This richly documented and illustrated tale, however, tells more than the story of the birth and development of boardwalks. Weaving together observations and conversations with business owners, planners, and strollers themselves, Lilliefors reveals the vitality of the boardwalk as an idea, rather than just as a place. Boardwalks, he argues, are living monuments to American enterprise, a young country's founding dreams, and its unwavering optimism.
Born at a time when the country was busy rebuilding and reinventing itself as an industrial and economic power, these lively seaside destinations seemed to herald a new life of relaxation, recreation, and middle-class prosperity. On the nation's first boardwalk in Atlantic City, you could find everything from a "home of the future," to diving horses, kangaroo boxing, and the world's largest typewriter. With no admission gate, boardwalks were also a thoroughly democratic idea, inviting visitors from all social and economic groups to join the same parade.
Even today, these glittering coastal hubs, with their always unique blends of people, sea spray, shops, inventions, and oddities remain a last frontier-a testament to the power of individuality in an increasingly homogenized world. From Thrasher's French fries in Ocean City to Mack's Pizza in Wildwood and Nathan's hot dogs in Coney Island, people still visit these resorts for products and pleasures that break the otherwise mundane stream of chain restaurants and retailers. Evoking the spirit, tastes, smells, and sounds that have become a beloved part of our nostalgia and that continue to lure new generations, this book is a deserved tribute to America's iconic seaside wonders.
Beneath the surface of public-policy concerns that seem temporary are powerful evolutionary forces with long-term effects. One of the most important of these is the profound demographic change taking place in America-change which has extraordinary social and economic consequences, and far-reaching public-policy implications for the future of the nation.
James W. Hughes and Joseph J. Seneca have assembled experts on demography, immigration, policy, and family life to explain and document both changes and prospects for changes. Contributors profile the contours of demographic change in America and identify select public-policy challenges arising from this change. They cover a wide range of demographic shifts-"baby booms" and "baby busts," rising immigration, increasing ethnic and racial diversity, the proliferation of different household configurations, economic upward mobility that stems from the information-age rather than the industrial economy, and suburban and sunbelt gains.
A revolution in American medicine is in full swing, with the race from fee-for-service to fee-for-value at the front line in an epic battle that will transform healthcare delivery for decades to come. In America’s Healthcare Transformation, eminent physician leader Robert A. Phillips brings together key thought leaders and trail-blazing practitioners, who provide a wide-ranging exploration of the strategies, innovations, and paradigm shifts that are driving this healthcare transformation.
The contributors offer a panoramic look at the dramatic changes happening in the field of medicine, changes that put the patient at the heart of the process. Among other subjects, the essays evaluate innovative high quality and low cost care delivery solutions from around the United States and abroad, describe fundamental approaches to measuring the safety of care and the impact that guidelines have on improving quality of care and outcomes, and make a strong case that insurance reform will fundamentally and irreversibly drive delivery reform. In addition, America’s Healthcare Transformation reviews the role of health information technology in creating safer healthcare, provides a primer on the development of a culture of safety, and highlights ground-breaking new ways to train providers in patient safety and quality. Finally, the book looks at reports from Stanford Health Care and Houston Methodist which outline how successful behaviorally based strategies, anchored in values, can energize and empower employees to deliver a superior patient experience.
Drawing on the wisdom and vision of today’s leading healthcare innovators, America’s Healthcare Transformation provides a roadmap to the future of American healthcare. This book is essential reading for all health care providers, health care administrators, and health policy professionals, and it will be an invaluable resource in the effort to improve the practice of medicine and the delivery of healthcare in our communities and nation.
Amigas y Amantes (Friends and Lovers) explores the experiences of sexually nonconforming Latinas in the creation and maintenance of families. It is based on forty-two in-depth ethnographic interviews with women who identify as lesbian, bisexual, or queer (LBQ). Additionally, it draws from fourteen months of participant observation at LBQ Latina events that Katie L. Acosta conducted in 2007 and 2008 in a major northeast city. With this data, Acosta examines how LBQ Latinas manage loving relationships with the families who raised them, and with their partners, their children, and their friends.
Acosta investigates how sexually nonconforming Latinas negotiate cultural expectations, combat compulsory heterosexuality, and reconcile tensions with their families. She offers a new way of thinking about the emotion work involved in everyday lives, which highlights the informal, sometimes invisible, labor required in preserving family ties. Acosta contends that the work LBQ Latinas take on to preserve connections with biological families, lovers, and children results in a unique way of doing family.
Paying particular attention to the negotiations that LBQ Latinas undertake in an effort to maintain familial order, Amigas y Amantes explores how they understand femininity, how they negotiate their religious faiths, how they face the unique challenges of being in interracial/interethnic relationships, and how they raise their children while integrating their families of origin.
Amy Lowell, American Modern
Bradshaw, Melissa Rutgers University Press, 2004 Library of Congress PS3523.O88Z54 2004 | Dewey Decimal 811.52
For decades, the work of one of America’s most influential poets, 1925 Pulitzer Prize–winner Amy Lowell (1874–1925), has been largely overlooked. This vigorous, courageous poet gave voice to an erotic, thoroughly American sensibility. Cigar-smoker, Boston Brahmin, lesbian, impresario, entrepreneur, and prolific poet, Lowell heralded the rush of an American poetic flowering. A best-selling poet as well as a wildly popular lecturer (autograph-seeking fans were sometimes so boisterous that she required a police escort), she was a respected authority on modern poetry, forging the path that led to the works of Allen Ginsberg, May Sarton, Sylvia Plath, and beyond. Yet, since her death, her work has suffered critical neglect.
This volume presents an essential revaluation of Lowell, and builds a solid critical basis for evaluating her poetry, criticism, politics, and influence. Essays explore the varied contributions of Lowell as a woman poet, a modernist, and a significant force of the literary debates of early twentieth-century poetics. In addition to placing Lowell in her proper historical context, contributors demonstrate her centrality to current critical and theoretical discussions: feminist, gay and lesbian, and postcolonial, in as well as in disability, American, and cultural studies. The book includes a transatlantic group of literary critics and scholars.
Amy Lowell, American Modern offers the most sustained examination of Lowell to date. It returns her to conversation and to literary history where she belongs.
The late 1980s were a dismal time inside South Africa. Mandela's African National Congress was banned. Thousands of ANC supporters were jailed without charge. Government hit squads assassinated and terrorized opponents of white rule. Ordinary South Africans, black and white, lived in a perpetual state of dread. Journalist Patti Waldmeir evokes this era of uncertainty in Anatomy of a Miracle, her comprehensive new book about the stunning and-historically speaking-swift tranformation of South Africa from white minority oligarchy to black-ruled democracy. Much that Waldmeir documents in this carefully researched and elegantly written book has been well reported in the press and in previous books. But what distinguishes her work is a reporter's attention to detail and a historian's sense of sweep and relevance. . . .Waldmeir has written a deeply reasoned book, but one that also acknowledges the power of human will and the tug of shared destiny."-Philadelphia Inquirer
Why do we find artificial people fascinating? Drawing from a rich fictional and cinematic tradition, Anatomy of a Robot explores the political and textual implications of our perennial projections of humanity onto figures such as robots, androids, cyborgs, and automata. In an engaging, sophisticated, and accessible presentation, Despina Kakoudaki argues that, in their narrative and cultural deployment, artificial people demarcate what it means to be human. They perform this function by offering us a non-human version of ourselves as a site of investigation. Artificial people teach us that being human, being a person or a self, is a constant process and often a matter of legal, philosophical, and political struggle.
By analyzing a wide range of literary texts and films (including episodes from Twilight Zone, the fiction of Philip K. Dick, Kazuo Ishiguro’s novel Never Let Me Go, Metropolis, The Golem, Frankenstein, The Terminator, Iron Man, Blade Runner, and I, Robot), and going back to alchemy and to Aristotle’s Physics and De Anima, she tracks four foundational narrative elements in this centuries-old discourse— the fantasy of the artificial birth, the fantasy of the mechanical body, the tendency to represent artificial people as slaves, and the interpretation of artificiality as an existential trope. What unifies these investigations is the return of all four elements to the question of what constitutes the human.
This focused approach to the topic of the artificial, constructed, or mechanical person allows us to reconsider the creation of artificial life. By focusing on their historical provenance and textual versatility, Kakoudaki elucidates artificial people’s main cultural function, which is the political and existential negotiation of what it means to be a person.
Cartoonists and animators have given animals human characteristics for so long that audiences are now accustomed to seeing Bugs Bunny singing opera and Mickey Mouse walking his dog Pluto.
The Animated Bestiary critically evaluates the depiction of animals in cartoons and animation more generally. Paul Wells argues that artists use animals to engage with issues that would be more difficult to address directly because of political, religious, or social taboos. Consequently, and principally through anthropomorphism, animation uses animals to play out a performance of gender, sex and sexuality, racial and national traits, and shifting identity, often challenging how we think about ourselves.
Wells draws on a wide range of examples, from the original King Kongto Nick Park's Chicken Run to Disney cartoonsùsuch as Tarzan, The Jungle Book, and Brother Bearùto reflect on people by looking at the ways in which they respond to animals in cartoons and films.
Long considered "children's entertainment" by audiences and popular media, Hollywood animation has received little serious attention. Eric Smoodin's Animating Culture is the first and only book to thoroughly analyze the animated short film.
Usually running about seven or eight minutes, cartoons were made by major Hollywood studios––such as MGM, Warner Bros., and Disney––and shown at movie theaters along with a newsreel and a feature-length film. Smoodin explores animated shorta and the system that mass-produced them. How were cartoons exhibited in theaters? How did they tell their stories? Who did they tell them to? What did they say about race, class, and gender? How were cartoons related to the feature films they accompanied on the evening's bill of fare? What were the social functions of cartoon stars like Donald Duck and Minnie Mouse?
Smoodin argues that cartoons appealed to a wide audience––not just children––and did indeed contribute to public debate about political matters. He examines issues often ignored in discussions of animated film––issues such as social control in the U.S. army's "Private Snafu" cartoons, and sexuality and race in the "sites" of Betty Boop's body and the cartoon harem. Smoodin's analysis of the multiple discourses embedded in a variety of cartoons reveals the complex and sometimes contradictory ways that animation dealt with class relations, labor, imperialism, and censorship. His discussion of Disney and the Disney Studio's close ties with the U.S. government forces us to rethink the place of the cartoon in political and cultural life. Smoodin reveals the complex relationship between cartoons and the Hollywood studio system, and between cartoons and their audiences.
Curtis, Scott Rutgers University Press, 2019 Library of Congress TR897.5.A55 2019 | Dewey Decimal 776.6
From the earliest motion pictures and cartoons of the 1900s, to the latest 3D animated feature and CGI blockbuster, animation has always been a part of the cinematic experience. While the boundaries between animation and live-action have often been carefully tended, the ubiquity of contemporary computer imaging certainly blurs those lines, thereby confirming the importance of animation for the history of American cinema. The last installment of the acclaimed Behind the Silver Screen series, Animation explores the variety of technologies and modes of production throughout the history of American animation: the artisanal, solitary labors of early animators such as Winsor McCay, or of independent animators such as Mary Ellen Bute; the industrial assembly lines of Hollywood studio-unit animation; the parsimonious production houses of the post-studio, post-war era; the collaborative approach of boutique animation and special-effect houses. Drawing on archival sources, this volume provides not only an overview of American animation history, but also, by focusing on the relationship between production and style, a unique approach to understanding animation in general.