“It’s Magic Time!” That colorful promise began each performance at the Caffe Cino, the storied Greenwich Village coffeehouse that fostered the gay and alternative theatre movements of the 1960s and launched the careers of such stage mainstays as Sam Shepard, Lanford Wilson, Robert Heide, Harry Koutoukas, Robert Patrick, Robert Dahdah, Helen Hanft, Al Pacino, and Bernadette Peters. As Off-Off-Broadway productions enjoy a deserved resurgence, theatre historian and actor Wendell C. Stone reopens the Cino’s doors in this vibrant look at the earliest days of OOB.
Rife with insider interviews and rich with evocative photographs, Caffe Cino: The Birthplace of Off-Off-Broadway provides the first detailed account of Joe Cino’s iconic café theatre and its influence on American theatre. A hub of artistic innovation and haven for bohemians, beats, hippies, and gays, the café gave a much-sought outlet to voices otherwise shunned by mainstream entertainment. The Cino’s square stage measured only eight feet, but the dynamic ideas that emerged there spawned the numerous alternative theatre spaces that owe their origins to the risky enterprise on Cornelia Street.
Paul Theobald chronicles the history of the one-room country schools that were spread throughout the rural Midwest during the nineteenth and early twentieth centuries.
Focusing on the region’s educational history in light of the religious, economic, and political atmosphere, Theobald explores the tight connection between educational preferences and religious views, between the economics of the countryside and the educational experiences of children, and between the politics of local power and the educational prospects of the powerless.
Basing his study on extensive archival research, including findings from eight midwestern states, Theobald neither condemns nor lauds the one-room school experience. Providing an objective evaluation, he examines rural school records, correspondence of early school officers, contemporary texts, and diaries and letters of rural students and teachers.
As he weaves together a contextualized account of the circumstances surrounding and within the one-room country schools of the Midwest, Theobald stresses that religion was of primary importance in nineteenth-century American life. Yet he also looks carefully at the shifting economic environment at work in the countryside, particularly in regard to the development of widespread farm tenancy and the consolidation of agricultural and related industries. He challenges readers to analyze how a national move from an agrarian to an industrial view caused conflict and confusion, thereby introducing irrevocable change into rural American life.
Theobald’s study illuminates the history of education on the plains and sheds light on the social foundations of the period.
Early in 1885 Americans learned that General Grant was writing his Memoirs in a desperate race for time against an incurable cancer. Not generally known was the General’s precarious personal finances, made so by imprudent investments, and his gallant effort to provide for his family by his writing. For six months newspaper readers followed the dramatic contest, and the hearts of Americans were touched by the General’s last battle.
Grant’s last year was one of both personal and literary triumph in the midst of tragedy, as Thomas M. Pitkin shows in this memorable and inspiring book. The Memoirs was completed; its remarkable literary quality made ita triumph. Ultimately more than 300,000sets of the two-volume work were sold. And Grant accepted the inevitable with quiet courage, and faded away in a manner sadly familiar to many American families.
Though told without maudlin touches, the story of Grant’s last year will leave few readers emotionally uninvolved, for itis an account of pain and suffering as well as mighty deeds, and truly deserves to be considered the General’s final victory.
CHOICE Outstanding Academic Title
Examining “the moment” as one of the primary motifs of Beat writing, Erik Mortenson offers the first book to investigate immediacy and its presence and importance in Beat writing. Capturing the Beat Moment: Cultural Politics and the Poetics of Presence places an expanded canon of Beat writers in an early postmodern context that highlights their importance in American poetics and provides an account of Beat practices that reveal how gender and race affect Beat politics of the moment.
Mortenson argues that Beat writers focused on action, desire, and spontaneity to establish an authentic connection to the world around them and believed that “living in the moment” was the only way in which they might establish the kind of life that led to good writing. With this in mind, he explores the possibility that, far from being the antithesis of their times, the Beats actually were a product of them. Mortenson outlines the effects of gender and race on Beat writing in the postwar years, as well as the Beats’ attempts to break free of the constrictive notions of time and space prevalent during the 1950s.
Mortenson discusses such topics as the importance of personal visionary experiences; the embodiment of sexuality and the moment of ecstasy in Beat writing; how the Beats used photographs to evoke the past; and the ways that Beat culture was designed to offer alternatives to existing political and social structures. Throughout the volume, Mortenson moves beyond the Kerouac-Ginsberg-Burroughs triumvirate commonly associated with Beat literature, discussing women—such as Diane di Prima, Janine Pommy Vega, and Joyce Johnson—and African American writers, including Bob Kaufman and Amiri Baraka. With the inclusion of these authors comes a richer understanding of the Beat writers’ value and influence in American literary history.
H. L. Goodall’s ground-breaking study of what people do with symbols and what symbols do to people explores the lives led by people in organizations. His narratives take on the form of six detective mysteries in which the narrator figures into the plot of the intrigue and then works out its essential patterns.
In the first mystery, "Notes on a Cultural Evolution: The Remaking of a Software Company," Goodall looks at the transition of a Huntsville regional office of a Boston-based computer software company where the lives and social dramas of the participants reflect the current state of high technology. The second essay and perhaps the most insightful, "The Way the World Ends: Inside Star Wars," penetrates the various defenses of the Star Wars command office in Huntsville to discover its secrets and surprises. Goodall shows how media, technology, fear of relationships, and symbolic images of the future unite into the day-to-day operations of people who believe they are responsible for the outer limits of our nation’s defense.
"Lost in Space: The Layers of Illusion Called Adult Space Camp" illustrates how a supposedly innocent theme park invites participation in rituals and ceremonies designed to influence a future generation of taxpayers. In "Articles of Faith," Goodall enters a super mall in Huntsville, noting how shopping centers provide consumers with far more than places to purchase goods and services. "How I Spent My Summer Vacation" finds Goodall back in an academic environment, at a conference of communication scholars, where he demonstrates the difficult task of translating cultural understandings from one context to another. "The Consultant as Organizational Detective" offers the sobering message that real-life mysteries may surprise even the most accomplished sleuth. A concluding chapter, "Notes on Method," and a new autobiographical afterword round out Goodall’s penetrating look at our symbol-making culture.
"I am not a common atheist; I am an atheist who loves God."—Paul Carus, "The God of Science," 1904
In the summer of 1880, while teaching at the military academy of the Royal Corps of Cadets of Saxony in Dresden, Paul Carus published a brief pamphlet denying the literal truth of scripture and describing the Bible as a great literary work comparable to the Odyssey.
This unremarkable document was Carus’s first step in a wide-ranging intellectual voyage in which he traversed philosophy, science, religion, mathematics, history, music, literature, and social and political issues. The Royal Corps, Carus later reported, found his published views "not in harmony with the Christian spirit, in accordance with which the training and education of the Corps of Cadets should be conducted." And so the corps offered the young teacher the choice of asking "most humbly for forgiveness for daring to have an opinion of my own and to express it, perhaps even promise to publish nothing more on religious matters, or to give up my post. I chose the latter. . . . There was thus no other choice for me but to emigrate and, trusting in my own powers, to establish for myself a new home." His resignation was effective on Easter Sunday, 1881.
Carus toured the Rhine, lived briefly in Belgium, and taught in a military college in England to learn English well enough to "thrive in the United States." By late 1884 or early 1885 he was on his way to the New World. Thriving in the United States proved more difficult than it had in England, but before 1885 ended he had published his first philosophical work in English, Monism and Meliorism. The book was not widely read, but it did reach Edward C. Hegeler, a La Salle, Illinois, zinc processor who became his father-in-law as well as his ideological and financial backer.
Established in La Salle, Carus began the work that would place him among the prominent American philosophers of his day and make the Open Court Publishing Company a leading publisher of philosophical, scientific, and religious books. He edited The Open Court and The Monist, offering the finest view of Oriental thought and religion then available in the West, and sought unsuccessfully to bring about a second World Parliament of Religions. He befriended physicist-philosopher Ernst Mach. For eleven years he employed D. T. Suzuki, who later became a great Zen Buddhist teacher. He published more articles by Charles S. Peirce, now viewed as one of the great world philosophers, in The Monist than appeared in any other publication.
Biographer Harold Henderson concludes his study of this remarkable man: "Whenever anyone is so fired with an idea that he or she can’t wait to write it down, there the spirit of Paul Carus remains, as he would have wished, active in the world."
Celluloid China: Cinematic Encounters with Culture and Society by Harry H. Kuoshu is a lucid introduction to the cinema of mainland China from the early 1930s to the early 1990s. Emphasizing both film contexts and film texts, this study invites film scholars and students to a broad cinematic analysis that includes investigations of cultural, cross-cultural, intellectual, social, ethnic, and political issues. Such a holistic evaluation allows for a better understanding of both the genesis of a special kind of film art from the People’s Republic of China and the culture exemplified in those films.
The fifteen films include: Two Stage Sisters; Hibiscus Town; Farewell My Concubine; Street Angel; Three Women; Human, Woman, Demon; Judou; Girl from Hunan; Sacrificed Youth; Horse Thief; Yellow Earth; Old Well; Red Sorghum; Black Cannon Incident; and Good Morning, Beijing. Discussions of each film have an introduction, passages from the director’s own notes whenever available, and a scholarly article. Discussion questions are found in an appendix. Within its complete bibliography, the book also features a suggested reading list for Chinese film classes. Celluloid China is the first book to provide such an exhaustive study of the art and cultural context of Chinese cinema.
In commemoration of the hundredth anniversary of the American Society of Church History, this monumental compilation of historiographical scholarship calls on 10 eminent specialists to review significant achievements that over the past century have shaped current understanding of the multifaceted church.
The book inevitably honors the memory of Philip Schaff, the great 19th century church historian who laid the foundations of the discipline in America and in 1888 founded the ASCH. In examining the major subfields of church history, many of which Schaff pioneered himself in the U.S., the essayists explore such topics as early Christianity, the medieval church, the Reformation, American religious liberty, creeds and liturgies, and ecumenism.
The anthology includes David W. Lotz, "Philip Schaff and the Idea of Church History"; Robert M. Kingdon, "Reformation Studies"; John F. Wilson, "Civil Authority and Religious Freedom in America: Philip Schaff on the United States as a Christian Nation"; and Aidan Kavanagh, "Liturgical and Credal Studies"; Henry W. Bowden, "The First Century: Institutional Development and Ideas about the Profession"; Glenn F. Chesnut, "A Century of Patristic Studies, 1888–1988"; Bernard McGinn, "The Gold of Catholicity": Reflections on a Century of American Study of Medieval Church History"; Jay P. Dolan, "Immigration and American Christianity: A History of Their Histories"; Gerald H. Anderson, "To the Ends of the Earth: American Protestants in Pursuit of Mission"; and John T. Ford, "Ecumenical Studies."
The topics addressed in this book are the major concerns of church history today. The essays provide a critical survey of major developments in the different fields over the past century, discussing the scholars and publications that brought new information to light or changed the general understanding of church history by contributing fresh interpretations. In bringing readers up to date in church history by surveying benchmark contributions in each of the special areas surveyed, the contributors seek to orient historians and stimulate colleagues toward further investigation of a common past.
A common thread running through all of these essays, Bowden notes, "is the recognition that we are heirs to a major change in historical self-understanding. Over the course of a century we have moved from views where history taught lessons of exclusivist rectitude to an appreciation of shared heritage and mutual development." Two appendixes provide extensive historical data about the society itself.
The first comprehensive collection of legal history documents from the Civil War and Reconstruction, this volume shows the profound legal changes that occurred during the Civil War era and highlights how law, society, and politics inextricably mixed and set American legal development on particular paths that were not predetermined. Editor Christian G. Samito has carefully selected excerpts from legislation, public and legislative debates, court cases, investigations of white supremacist violence in the South, and rare court-martial records, added his expert analysis, and illustrated the selections with telling period artwork to create an outstanding resource that demonstrates the rich and important legal history of the era.
Drawing on the theoretical work of Jacques Lacan, Marshall W. Alcorn Jr. formulates a systematic explanation of the function and value of desire in writing instruction.
Alcorn argues that in changing the subject matter of writing instruction in order to change student opinions, composition instructors have come to adopt an insufficiently complex understanding of subjectivity. This oversimplification hinders attempts to foster cultural change. Alcorn proposes an alternative mode of instruction that makes effective use of students’ knowledge and desire. The resulting freedom in expression—personal as well as political—engenders the recognition, circulation, and elaboration of desire necessary for both human communication and effective politics.
Responding to James Berlin’s reconception of praxis in the classroom, Theresa Ebert’s espousal of disciplined instructions, and Lester Faigley’s introduction of a postmodern theory of subjectivity, Alcorn follows both Lacan and Slavoj Žižek in insisting desire be given free voice and serious recognition. In composition as in politics, desire is the ground of agency. Competing expressions of desire should generate a dialectic in social-epistemic discourse that encourages enlightenment over cynicism and social development over authoritarian demands.
With clarity and personal voice, Alcorn explains how discourse is rooted in primitive psychological functions of desire and responds to complex cultural needs. In its theoretical scope this book describes a new pedagogy that links thought to emotion and the personal to the social.
Can the novel survive in an age when tales of historical figures and contemporary personalities dominate the reading lists of the book-buying public?
Naomi Jacobs addresses this question in a study of writers such as William Styron, E. L. Doctorow, and Robert Coover, who challenge the dominance of nonfiction by populating their fictions with real people, living and dead. Jacobs explores the genesis, varieties, and implications of this trend in a prose as lively as that of the writers she critiques.
Using as a case study Robert Coover’s portrait of Richard Nixon in The Public Burning, Jacobs addresses the important legal and ethical questions raised by this trend and applies contemporary libel law to the fictionalization of living people, such as Richard Nixon. She closes her study by speculating on the future of this device and of the novel.
In this narrative account of the life and work of Charles Olson, Ralph Maud focuses on what the poet read as a basis for understanding the work he produced.
To an extraordinary degree, Olson’s reading and life were coextensive, according to Maud, who notes that Olson saw his written output over his lifetime as a total cosmology. An individual who rarely traveled, this major American poet explored the world and its history as well as the furthest reaches of the thought of his day through books.
Maud builds upon George Butterick’s annotated listing of Olson’s library, bought by the University of Connecticut after the poet’s death in 1970. The present volume, however, adds categories of books Butterick deliberately omitted: Olson’s childhood books and poetry by his own contemporaries.
Linking Olson’s books to his intellectual and poetic development at each stage of his career, Maud reveals such little-known but important connections as the contracted book project "Operation Red, White and Black" and Olson’s plan for the long poem "West"—two unrealized projects much later shaped into The Maximus Poems.
Maud also outlines the surprisingly multiple role of the painter Corrado Cagli, who brought home to Olson the significance of the Holocaust and introduced him both to the Tarot and to the theories of non-Euclidean geometry that Olson variously incorporated into his poems and essays. In discussing Olson’s relationship to Ezra Pound, Maud defines in some detail what Olson gained from Pound and what he repudiated.
Maud refutes the notion that Olson’s intellectual and creative powers declined during the last years of his life, demonstrating that during these years Olson developed his Jungian interest, his attention to early Greek thought, and a new concern for Northern mythology.
This chronicle of Olson’s reading from childhood to deathbed constitutes a critical biography of the larger-than-life author of Call Me Ishmael and The Maximus Poems. No modern poet is more revealed in his sources than Olson. Maud’s comprehensive and complete study provides a basis for new and fresh modes of thinking about Olson’s great achievement.
When the Confederates emerged as victors in the Chickamauga Campaign, the Union Army of the Cumberland lay under siege in Chattanooga, with Braxton Bragg’s Army of Tennessee on nearby high ground at Missionary Ridge and Lookout Mountain. A win at Chattanooga was essential for the Confederates, both to capitalize on the victory at Chickamauga and to keep control of the gateway to the lower South. Should the Federal troops wrest control of that linchpin, they would cement their control of eastern Tennessee and gain access to the Deep South. In the fall 1863 Chattanooga Campaign, the new head of the western Union armies, Ulysses S. Grant, sought to break the Confederate siege. His success created the opportunity for the Union to start a campaign to capture Atlanta the following spring.
Woodworth’s introduction sets the stage for ten insightful essays that provide new analysis of this crucial campaign. From the Battle of Wauhatchie to the Battle of Chattanooga, the contributors’ well-researched and vividly written assessments of both Union and Confederate actions offer a balanced discussion of the complex nature of the campaign and its aftermath. Other essays give fascinating examinations of the reactions to the campaign in northern newspapers and by Confederate soldiers from west of the Mississippi River.
Complete with maps and photos, The Chattanooga Campaign contains a wealth of detailed information about the military, social, and political aspects of the campaign and contributes significantly to our understanding of the Civil War’s western theater.
Univeristy Press Books for Public and Secondary Schools 2013 edition
On the afternoon of December 30, 1903, during a sold-out matinee performance, a fire broke out in Chicago’s Iroquois Theatre. In the short span of twenty minutes, more than six hundred people were asphyxiated, burned, or trampled to death in a panicked mob’s failed attempt to escape. In Chicago Death Trap: The Iroquois Theatre Fire of 1903, Nat Brandt provides a detailed chronicle of this horrific event to assess not only the titanic tragedy of the fire itself but also the municipal corruption and greed that kindled the flames beforehand and the political cover-ups hidden in the smoke and ash afterwards.
Advertised as “absolutely fireproof,” the Iroquois was Chicago’s most modern playhouse when it opened in the fall of 1903. With the approval of the city’s building department, theater developers Harry J. Powers and William J. Davis opened the theater prematurely to take full advantage of the holiday crowds, ignoring flagrant safety violations in the process.
The aftermath of the fire proved to be a study in the miscarriage of justice. Despite overwhelming evidence that the building had not been completed, that fire safety laws were ignored, and that management had deliberately sealed off exits during the performance, no one was ever convicted or otherwise held accountable for the enormous loss of life.
Lavishly illustrated and featuring an introduction by Chicago historians Perry R. Duis and Cathlyn Schallhorn, Chicago Death Trap: The Iroquois Theatre Fire of 1903 is rich with vivid details about this horrific disaster, captivatingly presented in human terms without losing sight of the broader historical context.
The personal—and often intimate—diaries of fledgling journalist and entrepreneur John Mansir Wing create a unique portrait of a rough-and-tumble Chicago in the first few years following the Civil War. Wing writes of a city filled with new immigrants, ex-soldiers, and the thriving merchant class making its fortunes from both before the great fire of 1871 left much of the city in ashes.
Transcribed and edited by noted Chicago bibliophile and historian Robert Williams, and published in cooperation with the Caxton Club, this volume also details the early adventures of a rural Eastern who came to the “Metropolis of the West” in his early twenties and worked for some of the most influential journalists of his day. Wing shared cigars and conversation with notable politicians, businessmen, and war heroes including Sherman and Grant, all the while conducting an active romantic life with members of his own sex in boarding houses and barrooms.
Wing’s greatest passion was for book collecting. Following a successful later career in trade journal publishing and investing, he provided an endowment to create the John M. Wing Foundation at Chicago’s famed Newberry Library. The Wing Foundation became the first American public collection devoted to the history of printing; it remains today among the nation’s best resources for the study of the bibliographic arts.
Despite his lasting importance in publishing and philanthropy, and the fact that no serious history of Chicago can be written without reference to many of his publications, John M. Wing has been largely absent from most histories of the city’s movers and shakers. Complete with historical annotations and a bibliography of Wing’s writings for the press, this fascinating personal account reclaims his deserved place in Chicago life and lore.
Chicago: Metropolis of the Mid-Continent provides a comprehensive portrayal of the growth and development of Chicago from the mudhole of the prairie to today’s world-class city. This completely revised fourth edition skillfully weaves together the geography, history, economy, and culture of the city and its suburbs with a special emphasis on the role of the many ethnic and racial groups that comprise the “real Chicago” of its neighborhoods. Cutler demonstrates how the geography of “Chicagoland” and the influx of a diverse population spurred transportation, industrial technology, the economy, and sporadic planning to foster rapid urban growth, which brought both great progress and severe problems.
Through insightful analysis, Cutler also traces the demographic and societal changes to Chicago, critically examining such problems as the environment, education, racial tension, crime, welfare, housing, employment, and transportation. Richly illustrated with nearly three hundred drawings, photos, maps, and tables, the volume includes six appendices with sections dedicated to Chicago facts, population growth and income data, weather and climate, significant dates, and historic sites.
In 1893, the 27.5 million visitors to the Chicago World’s Fair feasted their eyes on the impressive architecture of the White City, lit at night by thousands of electric lights. In addition to marveling at the revolutionary exhibits, most visitors discovered something else: beyond the fair’s 633 acres lay a modern metropolis that rivaled the world’s greatest cities. The Columbian Exposition marked Chicago’s arrival on the world stage, but even without the splendor of the fair, 1893 would still have been Chicago’s greatest year.
An almost endless list of achievements took place in Chicago in 1893. Chicago’s most important skyscraper was completed in 1893, and Frank Lloyd Wright opened his office in the same year. African American physician and Chicagoan Daniel Hale Williams performed one of the first known open-heart surgeries in 1893. Sears and Roebuck was incorporated, and William Wrigley invented Juicy Fruit gum that year. The Field Museum, the Art Institute of Chicago, and the Museum of Science and Industry all started in 1893. The Cubs’ new ballpark opened in this year, and an Austro-Hungarian immigrant began selling hot dogs outside the World’s Fair grounds. His wares became the famous “Chicago hot dog.”
“Cities are not buildings; cities are people,” writes author Joseph Gustaitis. Throughout the book, he brings forgotten pioneers back to the forefront of Chicago’s history, connecting these important people of 1893 with their effects on the city and its institutions today. The facts in this history of a year range from funny to astounding, showcasing innovators, civic leaders, VIPs, and power brokers who made 1893 Chicago about so much more than the fair.
Extensively documented and richly detailed, Chicago’s Irish Legion tells the compelling story of Chicago’s 90th Illinois Volunteer Infantry, the only Irish regiment in Major General William Tecumseh Sherman’s XV Army Corps. Swan’s sweeping history of this singular regiment and its pivotal role in the Western Theater of the Civil War draws heavily from primary documents and first-person observations, giving readers an intimate glimpse into the trials and triumphs of ethnic soldiers during one of the most destructive wars in American history.
At the onset of the bitter conflict between the North and the South, Irish immigrants faced a wall of distrust and discrimination in the United States. Many Americans were deeply suspicious of Irish religion and politics, while others openly doubted the dedication of the Irish to the Union cause. Responding to these criticisms with a firm show of patriotism, the Catholic clergy and Irish politicians in northern Illinois—along with the Chicago press and community—joined forces to recruit the Irish Legion. Composed mainly of foreign-born recruits, the Legion rapidly dispelled any rumors of disloyalty with its heroic endeavors for the Union. The volunteers proved to be instrumental in various battles and sieges, as well as the marches to the sea and through the Carolinas, suffering severe casualties and providing indispensable support for the Union. Swan meticulously traces the remarkable journey of these unique soldiers from their regiment’s inception and first military engagement in 1862 to their disbandment and participation in the Grand Review of General Sherman’s army in 1865.
Enhancing the volume are firsthand accounts from the soldiers who endured the misery of frigid winters and brutal environments, struggling against the ravages of disease and hunger as they marched more than twenty-six hundred miles over the course of the war. Also revealed are personal insights into some of the war’s most harrowing events, including the battle at Chattanooga and Sherman’s famous campaign for Atlanta. In addition, Swan exposes the racial issues that affected the soldiers of the 90th Illinois, including their reactions to the Emancipation Proclamation and the formations of the first African American fighting units. Swan rounds out the volume with stories of survivors’ lives after the war, adding an even deeper personal dimension to this absorbing chronicle.
From mid-August to mid-September 1863, Union major general William S. Rosecrans’s Army of the Cumberland maneuvered from Tennessee to north Georgia in a bid to rout Confederate general Braxton Bragg’s Army of Tennessee and blaze the way for further Union advances. Meanwhile, Confederate reinforcements bolstered the numbers of the Army of Tennessee, and by the time the two armies met at the Battle of Chickamauga, in northern Georgia, the Confederates had gained numerical superiority.
Although the Confederacy won its only major victory west of the Appalachians, it failed to achieve the truly decisive results many high-ranking Confederates expected. In The Chickamauga Campaign,Steven E. Woodworth assembles eight thought-provoking new essays from an impressive group of authors to offer new insight into the complex reasons for this substantial, yet ultimately barren, Confederate victory.
This broad collection covers every angle of the campaign, from its prelude to its denouement, from the points of view of key players of all ranks on both sides. In addition to analyzing the actions taken by Union leaders Thomas L. Crittenden, Alexander McCook, and James S. Negley, and Confederate commanders Braxton Bragg, Patrick Cleburne, Daniel Harvey Hill, Thomas C. Hindman, James Longstreet, and Alexander P. Stewart, the book probes the campaign’s impact on morale in the North and South, and concludes with an essay on the campaign’s place in Civil War memory. The final essay pays particular attention to Union veteran Henry Van Ness Boynton, the founder and developer of Chickamauga and Chattanooga State Military Park, whose achievements helped shape how the campaign would be remembered.
This second volume in the Civil War Campaigns in the Heartland seriesprovides a profound understanding of the campaign’s details as well as its significance to Civil War history.
Contributors:
John R. Lundberg
Alexander Mendoza
David Powell
Ethan S. Rafuse
William G. Robertson
Timothy B. Smith
Lee White
Steven E. Woodworth
Traditionally, scholars have traced the origin of Christianity to a single source—the kingdom of God as represented in the message of the historical Jesus. Through a rhetorical critical analysis of one of the most important texts in early Christian literature (the Beelzebul controversy), Michael L. Humphries addresses the issue of Christian origins, demonstrating how the language of the kingdom of God is best understood according to its locative or taxonomic effect where the demarcation of social and cultural boundaries contributes to the emergence of this new social foundation.
The Beelzebul controversy exists in two versions— Q and Mark—and thereby allows the study to engage the import of the kingdom language at the point of juxtaposition between two distinct textual representations. This makes it possible to deal directly with the issue of the disparity of texts in the synoptic tradition. Humphries suggests that these two versions of the same controversy indicate two distinct social trajectories wherein the kingdom of God comes to mean something quite different in each case but that nevertheless they demonstrate a similarity in theoretical effect where the language contributes to the emergence of relatively distinct social formations.
Humphries establishes the Q and Markan versions of the Beelzebul controversy as relatively sophisticated compositions that are formally identified as elaborate chreiai (a literary form used in the teaching of rhetoric at the secondary and post-secondary level of GrecoRoman education) and that offer an excellent example of the rhetorical manipulation of language in the development of social and cultural identity.
Christina Rossetti was considered the ideal female poet of her time. Her poetry was devotional, moral, and spoke of frustrated affection.
Dolores Rosenblum presents a fresh reading of Rossetti’s works and places them in the context of her life. Rosenblum shows that what was ostensibly devotional, moral, and loveless, was actually what Luce Irigaray calls “mimetism,” a subtle parody and subversion of the male tradition of literature.
Only with the coming of feminist criticism can Rossetti be meaningfully re-evaluated. Rosenblum calls Rossetti’s works the “poetry of endurance,” stating that it is similar, and at times identical, to the female “sentimental” tradition in literature. Rossetti endured the constraints of the Victorian female artistic spirit by becoming a “watcher.” Within this self-accepted role, Rossetti was able to carefully and deliberately choose artistic self-protection. In her religious poetry, Rossetti transcended, by aesthetic renunciation, the alienation and immobilization forced upon her.
Rossetti’s poetry is full of paradox; it sings about silence, exposes the poet’s oblivion. From the repining Victorian poet, there emerged a “stone woman.” Rosenblum discusses this passively enduring female figure’s alienation from knowledge and power, and how the myth of self strengthened the lyric voice within her. Because she was a woman, she was denied the male use of the lyric “I.”
Rossetti’s work is unified, Rosenblum argues, because she was a deliberate poet, and by accepting the “burden of womanhood,” she played out what men only symbolized as female in their art. By her mimicry and revision of the male tradition of literature, Christina Rossetti engaged the patriarchal tradition in ways that make it usable for the female experience, and that provide a critique of male objectification of women in art.
Essential to Catholic, Protestant, and even secular scholars of American religious history this is the first historiographical analysis of the work of Henry K. Rowe, James H. Nichols, Leonard J. Trinterud, H. Shelton Smith, John T. McNeill, Herbert W. Schneider, Robert T. Handy, John T. Ellis, and Jaroslav Pelikan.
Aware that every generation rewrites history, Bowden bases his investigation of major twentieth-century church historians on two questions: Why are young historians dissatisfied with earlier treatments? What leads them to believe their version is better?
Henry Warner Bowden’s extensive bibliography includes A Century of Church History: The Legacy of Philip Schaff.
Contains Cicero’s De Oratore and Brutus, influential sources over the centuries for ideas on rhetoric and training for public leadership.
The De Oratore, written in 55 B.C., argues that rhetoric is socially significant because states are established and maintained through the leadership of eloquent men.
The three books of dialogues in this volume feature discussions between well-known figures in Roman history, including Lucius Crassus, Marcus Antonius, Quintus Lutatius Catulus, Quintus Marcius Scaevola, Caius Aurelius Cotta, Julius Caesar Strabo Vopicus, and Publius Sulpicus Rufus.
The Brutus continues the theme of the dialogues, giving a history of eminent orators whose performances exemplify the Ciceronian theory that rhetoric finally adds up to leadership.
In Cinema Muto, Jesse Lee Kercheval examines the enduring themes of time, mortality, and love as revealed through the power of silent film. Following the ten days of the annual Le Giornate del Cinema Muto in Italy, this collection of ekphrastic poems are love letters to the evocative power of silent cinema. Kercheval’s poems elegantly capture the allure of these rare films, which compel hundreds of pilgrims from around the world—from scholars and archivists, to artists and connoisseurs—to flock to Italy each autumn. Cinema Muto celebrates the flickering tales of madness and adventure, drama and love, which are all too often left to decay within forgotten vaults. As reels of Mosjoukine and D. W. Griffith float throughout the collection, a portrait also emerges of the simple beauty of Italy in October and of two lovers who are drawn together by their mutual passion for an extinct art. Together they revel in recapturing “the black and white gestures of a lost world.”
Cinema Muto is a tender tribute to the brief yet unforgettable reign of silent film. Brimming with stirring images of dreams, desire, and the ghosts of cinema legends gone by, Kercheval’s verse is a testament to the mute beauty and timeless lessons that may still be discovered in a fragile roll of celluloid.
Taking its concept of concentricity from the eponymous Ralph Waldo Emerson essay, Circle, the first collection from Victoria Chang, adopts the shape as a trope for gender, family, and history. These lyrical, narrative, and hybrid poems trace the spiral trajectory of womanhood and growth and plot the progression of self as it ebbs away from and returns to its roots in an Asian American family and context. Locating human desire within the helixes of politics, society, and war, Chang skillfully draws arcs between T’ang Dynasty suicides and Alfred Hitchcock leading ladies, between the Hong Kong Flower Lounge and an all-you-can-eat Sunday brunch, the Rape of Nanking and civilian casualties in Iraq.
New collection from National Book Award finalist
Civil twilight is the astronomical term for the minutes just before sunrise and just after sunset. If one took a snapshot, it would be impossible to tell whether the light was increasing or diminishing. The poems in Civil Twilight arise in this liminal space. With luminous precision, Cynthia Huntington examines the civil twilight we live in now, unsure of whether the darkness is closing in or whether the light is about to break.
Here the poet is both skeptic and seeker, for any hope worth discovering needs to withstand the facts at hand. Is everything getting worse, or are things about to improve? Or is this the way things have always been, both hopeful and terrifying, and it is our questions that need to change? In part one, the speaker strives for balance by maintaining light and warmth in a cold season. In part two, American scenes of construction and destruction are set beside moments from history: Rome, the British Empire, and American immigration. Part three enfolds questions of history and power within winter scenes and the artist’s imagination. In part four, the speaker looks back and admits answers remain elusive, yet points to the new ways of thinking and feeling about survival that have resulted from the work. And here, the half-light shifts. In a world teetering on the edge of collapse, Civil Twilight wrestles hard-won hope from disquiet, coming to rest in what is.
Drawing on more than thirty years of meticulous research, Kay Rippelmeyer details the Depression-era history of the simultaneous creation of the Civilian Conservation Corps (CCC) and the Shawnee National Forest in southern Illinois. Through the stories of the men who worked in CCC camps devoted to soil and forest conservation projects, she offers a fascinating look into an era of utmost significance to the identity, citizens, wildlife, and natural landscape of the region.
Rippelmeyer outlines the geologic and geographic history of southern Illinois, from Native American uses of the land to the timber industry’s decimation of the forest by the 1920s. Detailing both the economic hardships and agricultural land abuse plaguing the region during the Depression, she reveals how the creation of the CCC under Franklin Delano Roosevelt coincided with the regional campaign for a national forest and how locals first became aware of and involved with the program.
Rippelmeyer mined CCC camp records from the National Archives, newspaper accounts and other correspondence and conducted dozens of oral interviews with workers and their families to re-create life in the camps. An extensive camp compendium augments the volume, featuring numerous photographs, camp locations and dates of operation, work history, and company rosters. Satisfying public curiosity and the need for factual information about the camps in southern Illinois, this is an essential contribution to regional history and a window to the national impact of the CCC.
Ralph Kirshner has provided a richly illustrated forum to enable the West Point class of 1861 to write its own autobiography. Through letters, journals, and published accounts, George Armstrong Custer, Adelbert Ames, and their classmates tell in their own words of their Civil War battles and of their varied careers after the war.
Two classes graduated from West Point in 1861 because of Lincoln's need of lieutenants: forty-five cadets in Ames's class in May and thirty-four in Custer's class in June. The cadets range from Henry Algernon du Pont, first in the class of May, whose ancestral home is now Winterthur Garden, to Custer, last in the class of June. “Only thirty-four graduated,” remarked Custer, “and of these thirty-three graduated above me.” West Point's mathematics professor and librarian Oliver Otis Howard, after whom Howard University is named, is also portrayed.
Other famous names from the class of 1861 are John Pelham, Emory Upton, Thomas L. Rosser, John Herbert Kelly (the youngest general in the Confederacy when appointed), Patrick O'Rorke (head of the class of June), Alonzo Cushing, Peter Hains, Edmund Kirby, John Adair (the only deserter in the class), and Judson Kilpatrick (great-grandfather of Gloria Vanderbilt). They describe West Point before the Civil War, the war years, including the Vicksburg campaign and the battle of Gettysburg, the courage and character of classmates, and the ending of the war.
Kirshner also highlights postwar lives, including Custer at Little Bighorn; Custer's rebel friend Rosser; John Whitney Barlow, who explored Yellowstone; du Pont, senator and author; Kilpatrick, playwright and diplomat; Orville E. Babcock, Grant's secretary until his indictment in the "Whiskey Ring"; Pierce M. B. Young, a Confederate general who became a diplomat; Hains, the only member of the class to serve on active duty in World War I; and Upton, "the class genius."
The Class of 1861, which features eighty-three photographs, includes a foreword by George Plimpton, editor of theParis Review and great-grandson of General Adelbert Ames.
Back in print after 17 years, this is a concise history of rhetoric as it relates to structure, genre, and style, with special reference to English literature and literary criticism from Ancient Greece to the end of the 18th century.
The core of the book is a quite original argument that the figures of rhetoric were not mere mechanical devices, were not, as many believed, a "nuisance, a quite sterile appendage to rhetoric to which (unaccountably) teachers, pupils, and writers all over the world devoted much labor for over 2,000 years." Rather, Vickers demonstrates, rhetoric was a stylized representation of language and human feelings.
Vickers supplements his argument through analyses of the rhetorical and emotional structure of four Renaissance poems. He also defines 16 of the most common figures of rhetoric, citing examples from the classics, the Bible, and major English poets from Chaucer to Pope.
Oprah Winfrey, Donald Trump, Roseanne Barr, Martha Stewart, and Britney Spears typify class-passers—those who claim different socioeconomic classes as their own—asserts Gwendolyn Audrey Foster in Class-Passing: Social Mobility in Film and Popular Culture. According to new rules of social standing in American popular culture, class is no longer defined by wealth, birth, or education. Instead, today’s notion of class reflects a socially constructed and regulated series of performed acts and gestures rooted in the cult of celebrity.
In examining the quest for class mobility, Foster deftly traces class-passing through the landscape of popular films, reality television shows, advertisements, the Internet, and video games. She deconstructs the politics of celebrity, fashion, and conspicuous consumerism and analyzes class-passing as it relates to the American Dream, gender, and marriage.
Class-Passing draws on dozens of examples from popular culture, from old movie classics and contemporary films to print ads and cyberspace, to illustrate how flagrant displays of wealth that were once unacceptable under the old rules of behavior are now flaunted by class-passing celebrities. From the construction worker in Who Wants to Marry a Millionaire? to the privileged socialites Paris Hilton and Nicole Richie of The Simple Life, Foster explores the fantasy of contact between the classes. She also refers to television class-passers from The Apprentice, Queer Eye for the Straight Guy, and Survivor and notable class-passing achievers Warren Buffet, Bill Gates, and P. Diddy.
Class-Passing is a notable examination of the historical, social, and ideological shifts in expressions of class. The first serious book of its kind, Class-Passing is fresh, innovative, and invaluable for students and scholars of film, television, and popular culture.
Emphasizing the courage required and the cost of dissent before and throughout the Civil War, David B. Chesebrough identifies dissenters among the southern clergy, tells their stories, and discusses the issues that caused these Christians to split from the majority
After an opening chapter in which he provides an overview of the role of the southern clergy in the antebellum and war years, Chesebrough turns to the South’s efforts to present a united proslavery front from 1830 to 1861. Clergy who could not support the "peculiar institution" kept silent, moved to the North, or suffered various consequences for their nonconformity.
Chesebrough then deals with the war years (1861–1865), when opposition to secession and the war was regarded as much more serious than opposition to slavery had been. Some members of the clergy who formally supported and justified slavery could not support secession and war. This was a dangerous stance, sometimes carrying a death sentence.
The final chapter, "The Creative Minority" stresses the important societal role of dissenters, who, history shows, often perceive events more clearly than the majority.
The dissenters Chesebrough discusses include John H. Aughey, a Presbyterian evangelist from Mississippi who was imprisoned and sentenced to death for his opposition to secession; William G. Brownlow, a Methodist cleric and newspaper publisher who, though he later became governor of Tennessee, was imprisoned and forced to leave the state because of his opposition to secession and the Civil War; John Gregg Fee, the founder of Berea College in Kentucky, who was denounced by his family and forced to leave the state because of his abolitionist views; and Melinda Rankin, a Presbyterian missionary worker in Brownsville, Texas, who was dismissed from her teaching responsibilities because of alleged northern sympathies.
Using a number of critical approaches, Michael Skau examines Gregory Corso's complex imagination, his humor, and his poetic techniques in dealing with America, the Beat generation, and death.
Skau covers the complete works of Corso, one of the four major Beat Generation writers (with Jack Kerouac, Allen Ginsberg, and William S. Burroughs) who attempted to provide an alternative to what they saw as the academic forms of literature dominating American writing through the 1940s and 1950s. The Beat option focused on ordinary people, spurning the cultural pretensions of the intelligentsia and using common language as well as the rhythms of actual speech. Corso, abandoned as a child by his mother, subjected to a variety of foster homes, and imprisoned as an adolescent, became an authentic voice of America's neglected streetwise youth. He embodies much of the tension, confusion, and rebellion that emerged in America after World War II and eventually crested in the 1960s.
Corso emphasizes social issues, yet risks undermining this significance by using wit, wordplay, and humor. While conceding mortality, he is adamant in refusing to acknowledge death's power. Even as he rebels against conventional literature, he still is enchanted by classicism and romanticism, often borrowing their techniques and idioms. Skau examines these complexities and seeming contradictions throughout Corso's career, showing that Corso finds value in inconsistency and vacillation. For him, as illustrated in the poems "Hair" and "Marriage," contradiction and ambivalence suggest the foundations of freedom of imagination.
In spite of Corso's significance as an American poet, Skau's is the first extensive study of his work, including his fiction. Skau also provides the first complete bibliography of Corso's published work in more than thirty years.
Cold Warriors: Manliness on Trial in the Rhetoric of the West returns to familiar cultural forces—the West, anticommunism, and manliness—to show how they combined to suppress dissent and dominate the unruliness of literature in the name of a national identity after World War II. Few realize how much the domination of a “white male” American literary canon was a product not of long history, but of the Cold War. Suzanne Clark describes here how the Cold War excluded women writers on several levels, together with others—African American, Native American, poor, men as well as women—who were ignored in the struggle over white male identity.
Clark first shows how defining national/individual/American identity in the Cold War involved a brand new configuration of cultural history. At the same time, it called upon the nostalgia for the old discourses of the West (the national manliness asserted by Theodore Roosevelt) to claim that there was and always had been only one real American identity.
By subverting the claims of a national identity, Clark finds, many male writers risked falling outside the boundaries not only of public rhetoric but also of the literary world: men as different from one another as the determinedly masculine Ernest Hemingway and the antiheroic storyteller of the everyday, Bernard Malamud. Equally vocal and contentious, Cold War women writers were unwilling to be silenced, as Clark demonstrates in her discussion of the work of Mari Sandoz and Ursula Le Guin.
The book concludes with a discussion of how the silencing of gender, race, and class in Cold War writing maintained its discipline until the eruptions of the sixties. By questioning the identity politics of manliness in the Cold War context of persecution and trial, Clark finds that the involvement of men in identity politics set the stage for our subsequent cultural history.
Processes of fighting unequal citizenship have historically prioritized literacy education, through which people envision universal first-class citizenship and devise practical methods for enacting this vision. In this important volume, literacy scholar Paul Feigenbaum explores how literacy education can facilitate activism in contemporary contexts in which underserved populations often remain consigned to second-class status despite official guarantees of equal citizenship. By conceiving of education as, in part, a process of understanding and grappling with adaptive and activist rhetorics, Feigenbaum explains, educators can direct people’s imaginations toward activism without running up against the conceptual problems so many scholars associate with critical pedagogy. Over time, this model of education expands people’s imaginations about what it means to be a good citizen, facilitates increased civic participation, and encourages collective destabilization of, rather than adaptation to, the structural inequalities of mainstream civic institutions. Feigenbaum offers detailed analyses of various locations and time periods inside, outside, and across the walls of formal education, including the Citizenship Schools and Freedom Schools rooted in the Civil Rights Movement of the 1950s and 1960s; the Algebra Project, a current practical-literacy network; and the Imagination Federation, a South Florida–based Earth-Literacy network. Considering both the history and the future of community literacy, Collaborative Imagination offers educators a powerful mechanism for promoting activism through their teaching and scholarship, while providing practical ideas for greater civic engagement among students.
This cumulative index to the thirty-seven volumes of The Collected Works of John Dewey, 1882–1953, is an invaluable guide to The Collected Works.
The Collected Works Contents incorporates all the tables of contents of Dewey’s individual volumes, providing a chronological, volume-by-volume overview of every item in The Early Works, The Middle Works, and The Later Works.
The Title Index lists alphabetically by shortened titles and by key words all items in The Collected Works. Articles republished in the collections listed above are also grouped under the titles of those books.
The Subject Index, which includes all information in the original volume indexes, expands that information by adding the authors of introductions to each volume, authors and titles of books Dewey reviewed or introduced, authors of appendix items, and relevant details from the source notes.
James C. Hogan introduces each play by highlighting specific and interpretive problems relevant to that play before turning to a line-by-line analysis. The line analysis is comprehensive, ranging from the meanings of words and phrases that pertain to a variety of Greek ideas and institutions to metaphor and imagery specific to each play as well as plots and borrowings from earlier poetry, styles, and characterizations.
Along with his examination of the seven extant plays of Sophocles in English translations, Hogan provides a general introduction to the theatre in Sophocles’ time, discussing staging, the conventions of the Greek theatre, the text of the plays, and mythology and religion.
Martin Buber’s work suggests that real life begins with two individuals engaged in dialogue, not just taking care of one’s own needs as described in social Darwinism.
Arnett argues that the end of the age of abundance demands that we give up the communicative strategies of the past and seek to work together in the midst of limited resources and an uncertain future. Today’s situation calls for an unwavering commitment to Buber’s “narrow ridge” concern for both self and community.
Arnett illustrates the narrow ridge definition of interpersonal communication with rich examples. His vignettes demonstrate effective and ineffective approaches to human community. An effective approach, he makes clear, incorporates not only openness to others’ points of view but also a willingness to be persuaded.
Examination of seven famous trials, each concluding with an evaluation of the trial by a lawyer, judge, law professor, or communication scholar.
The Washington Post coverage of the John Hinckley case preceding the trial demonstrates the effects media may have on a trial. The Haymarket riot trial serves as an example of opening statements in a storytelling form.
By analyzing the trial of Bruno Richard Hauptmann, Schuetz and Snedaker explain direct examination according to its purpose, legal rules, ordering of witnesses, verbal and nonverbal techniques of interrogation, and tactics for introducing evidence.
The cross-examination in the Sacco-Vanzetti case shows how advocates enhance or decrease their persuasiveness by adopting communication maneuvers. Closing arguments in the Rosenberg trial took the form of a refutative story with a dual persuasive and instructional content.
The Supreme Court appeal in the Sam Sheppard case demonstrates the procedures, form, content, and style of arguments of appellate briefs. The Chicago Eight trial is an example of trial as theatre.
Starting with the premise that we live in communication (rather than standing outside communication and using it for secondary purposes), Pearce claims that people who live in various cultures and historical epochs not only communicate differently but experience different ways of being human because they communicate differently.
This century, he notes, ushered in the "communication revolution," the discovery that communication is far more important and central to the human condition than ever before realized. Essential to the communication revolution is the recognition that multiple forms of discourse exist in contemporary human society. Further, these forms of discourse are not benign; they comprise alternative ways of being human.
Thus communication theory must encompass all that it "means to live a life, the shape of social institutions and cultural traditions, the pragmatics of social action, and the poetics of social order."
Renowned in the disciplines of political theory and philosophy, Hannah Arendt’s searing critiques of modernity continue to resonate in other fields of thought decades after she wrote them. In Communication Ethics in Dark Times: Hannah Arendt’s Rhetoric of Warning and Hope, author Ronald C. Arnett offers a groundbreaking examination of fifteen of Arendt’s major scholarly works, considering the German writer’s contributions to the areas of rhetoric and communication ethics for the first time.
Arnett focuses on Arendt’s use of the phrase “dark times” to describe the mistakes of modernity, defined by Arendt as the post-Enlightenment social conditions, discourses, and processes ruled by principles of efficiency, progress, and individual autonomy. These principles, Arendt argues, have led humanity down a path of folly, banality, and hubris. Throughout his interpretive evaluation, Arnett illuminates the implications of Arendt’s persistent metaphor of “dark times” and engages the question, How might communication ethics counter the tenets of dark times and their consequences? A compelling study of Hannah Arendt’s most noteworthy works and their connections to the fields of rhetoric and communication ethics, Communication Ethics in Dark Times provides an illuminating introduction for students and scholars of communication ethics and rhetoric, and a tool with which experts may discover new insights, connections, and applications to these fields.
Top Book Award for Philosophy of Communication Ethics by Communication Ethics Division of the National Communication Association, 2013
Gerald M. Phillips draws on his twenty-five-year, five-thousand-client experience with the Pennsylvania State University Reticence Program to present a new theory of modification of “inept” communication behavior.
That experience has convinced Phillips that communication is arbitrary and rulebound rather than a process of inspiration. He demonstrates that communication problems can be described as errors that can be detected and classified in order to fit a remediation pattern. Regardless of the source of error, the remedy is to train the individual to avoid or eliminate errors—thus, orderly procedure will result in competent performance.
Inept communicators must be made aware of the obligations and constraints imposed by deep structures that require us to achieve a degree of formal order in our language, without which our discourse becomes incomprehensible.
Drawing on interviews and an array of scholarly work, Beth Daniell maps out the relations of literacy and spirituality in A Communion of Friendship: Literacy, Spiritual Practice, and Women in Recovery. Daniell tells the story of a group of women in “Mountain City” who use reading and writing in their search for spiritual growth. Diverse in socioeconomic status, the Mountain City women are, or have been, married to alcoholics. In Al-Anon, they use literacy to practice the Twelve Steps of Alcoholics Anonymous in order to find spiritual solutions to their problems.
In addition, Daniell demonstrates that in the lives of these women, reading, writing, and speaking are intertwined, embedded in one another in rich and complex ways. For the women, private literate practice is of the utmost importance because it aids the development and empowerment of the self. These women engage in literate practices in order to grow spiritually and emotionally, to live more self-aware lives, to attain personal power, to find or make meaning for themselves, and to create community. By looking at the changes in the women’s reading, Daniell shows that Al-Anon doctrine, particularly its oral instruction, serves as an interpretive tool. This discussion points out the subtle but profound transformations in these women’s lives in order to call for an inclusive notion of politics.
Foregrounding the women’s voices, A Communion of Friendship addresses a number of issues important in composition studies and reading instruction. This study examines the meaning of literacy within one specific community, with implications both for pedagogy and for empirical research in composition inside and outside the academy.
Brenton D. Faber’s spirited account of an academic consultant’s journey through banks, ghost towns, cemeteries, schools, and political campaigns explores the tenuous relationships between cultural narratives and organizational change.
Blending Faber’s firsthand experiences in the study and implementation of change with theoretical discussions of identity, agency, structure, and resistance within contexts of change, this innovative bookis among the first such communications studies to profile a scholar who is also a full participant in the projects. Drawing on theories of Michel Foucault, Anthony Giddens, and Pierre Bourdieu, Faber notes that change takes place in the realm of narrative, in the stories people tell.
Faber argues that an organization’s identity is created through internal stories. When the organization’s internal stories are consistent with its external stories, the organization’s identity is consistent and productive. When internal stories contradict the external stories, however, the organization’s identity becomes discordant. Change is the process of realigning an organization’s discordant narratives.
Faber discusses the case studies of a change management plan he wrote for a city-owned cemetery, a cultural change project he created for a downtown trade school, and a political campaign he assisted that focused on creating social change. He also includes detailed reflections on practical ways academics can become more involved in their communities as agents of progressive social change. Featuring six illustrations, Faber’s unique study demonstrates in both style and substance how stories work as agents of change.
While there have been several studies of writing programs at larger, baccalaureate institutions, the community college classroom has often been overlooked. Authors Howard Tinberg and Jean-Paul Nadeau fill this gap with The Community College Writer, a systematic and unique case study of first semester writing students at a community college. Drawing on surveys, interviews, and samples of classroom assignments, Tinberg and Nadeau use their research at one community college to reach out to instructors throughout the nation, fostering communication between community college faculty members in the effort to establish full-fledged writing programs geared toward student success.
At the heart of the book are the voices of the students themselves, as they discuss both their teachers’ expectations and their own. Through a series of case studies, the authors reveal the challenges students face as budding writers, and their firsthand experiences with writing programs at the community college level.
With this informative study, Tinberg and Nadeau seek not only to encourage dialogue between student and teacher or community college instructors, but to expand the conversation about program improvement to include both two- and four-year colleges, bringing composition faculty together in an effort to improve writing programs in all schools. Included in the volume are seven appendices, including surveys and interviews with faculty and students, making The Community College Writer a comprehensive and practical guide to tackling the issues facing writing programs and instructors.
Community Literacy and the Rhetoric of Public Engagement explores the critical practice of intercultural inquiry and rhetorical problem-solving that encourages urban writers and college mentors alike to take literate action. Author Linda Flower documents an innovative experiment in community literacy, the Community Literacy Center in Pittsburgh, and posits a powerful and distinctively rhetorical model of community engagement and pedagogy for both marginalized and privileged writers and speakers. In addition, she articulates a theory of local publics and explores the transformative potential of alternative discourses and counter-public performances.
In presenting a comprehensive pedagogy for literate action, the volume offers strategies for talking and collaborating across difference, forconducting an intercultural inquiry that draws out situated knowledge and rival interpretations of shared problems, and for writing and speaking to advocate for personal and public transformation. Flower describes the competing scripts for social engagement, empowerment, public deliberation, and agency that characterize the interdisciplinary debate over models of social engagement.
Extending the Community Literacy Center’s initial vision of community literacy first published a decade ago, Community Literacy and the Rhetoric of Public Engagement makes an important contribution to theoretical conversations about the nature of the public sphere while providing practical instruction in how all people can speak publicly for values and visions of change.
Winner, 2009 Rhetoric Society of America Book Award
When movies replaced theatre as popular entertainment in the years 1910–20, the world of live drama was wide open for reform. American advocates and practitioners founded theatres in a spirit of anticommercialism, seeking to develop an American audience for serious theatre, mounting plays in what would today be called “alternative spaces,” and uniting for the cause an eclectic group of professors, social workers, members of women’s clubs, bohemians, artists, students, and immigrants. This rebellion, called the Little Theatre Movement, also prompted and promoted the college theatre major, the inclusion of theatre pedagogy in K–12 education, prototypes for the nonprofit model, and the notion that theatre is a valuable form of self-expression.
Composing Ourselves: The Little Theatre Movement and the American Audience argues that the movement was a national phenomenon, not just the result of aspirants copying the efforts of the much-storied Provincetown Players, Washington Square Players, Neighborhood Playhouse, and Chicago Little Theatre. Going beyond the familiar histories of the best-known groups, Dorothy Chansky traces the origins of both the ideas and the infrastructures for serious theatre that are ordinary parts of the American cultural landscape today; she also investigates the gender discrimination, racism, and class insensitivity that were embedded in reformers’ ideas of the “universal” and that still trouble the rhetoric of regional, educational, and community theatre.
An important piece of revisionist history, Composing Ourselves shows how theatre reform, in keeping with other Progressive Era activism, took on corporate, conservative society, but did so in ways that were sometimes contradictory. For example, women constituted the majority of ticket buyers and the bulk of unsung labor, yet plays by women were considered inferior. Most reformers were comfortably middle class and sought change that would eliminate the anomie of modernity but not challenge their privileged positions.
Chansky deliberates on antifeminist images of women theatergoers in literature and cartoons and considers the achievements and failures of the Drama League of America, a network of women’s clubs, following up with a case study of the playwright Alice Gerstenberg to point out that theatre history has not fully realized the role of women in the Little Theatre Movement. Even as women were earning the majority of degrees in newly minted theatre programs, their paths were barred to most professional work except teaching. Chansky also considers a blackface production of a play about rural African Americans, which was a step towards sympathetic portrayals of minority characters yet still a reinforcement of white upper- and middle-class perspectives.
Composition and Cornel West: Notes toward a Deep Democracy identifies and explains key aspects of the work of Cornel West—the highly regarded scholar of religion, philosophy, and African American studies—as they relate to composition studies, focusing especially on three rhetorical strategies that West suggests we use in our questioning lives as scholars, teachers, students, and citizens.
In this study, author Keith Gilyard examines the strategies of Socratic Commitment (a relentless examination of received wisdom), Prophetic Witness (an abiding concern with justice and the plight of the oppressed), and Tragicomic Hope (a keep-on-pushing sensibility reflective of the African American freedom struggle). Together, these rhetorical strategies comprise an updated form of cultural criticism that West calls prophetic pragmatism.
This volume, which contains the only interview in which Cornel West directly addresses the field of composition,sketches the development of Cornel West’s theories of philosophy, political science, religion, and cultural studies and restates the link between Deweyan notions of critical intelligence and the notion of critical literacy developed by Ann Berthoff, Ira Shor, and Henry Giroux. Gilyard provides examples from the classroom to illustrate the possibilities of Socratic Commitment as part of composition pedagogy, shows the alignment of Prophetic Witness with traditional aims of critical composition, and in his chapter on Tragicomic Hope, addresses African American expressive culture with an emphasis on music and artists such as Curtis Mayfield, Marvin Gaye, Aretha Franklin, and Kanye West.
The first book to comprehensively connect the ideas of one of America's premier scholars of religion, philosophy and African American studies with composition theory and pedagogy, Composition and Cornel West will be valuable to scholars, teachers, and students interested in race, class, critical literacy, and the teaching of writing.
Despite its pervasiveness and its significance, composition has an unstable status within the curriculum. Writing programs and writing faculty are besieged by academic, political, and financial concerns that have not been well understood or addressed.
At many institutions, composition functions paradoxically as both the gateway to academic success and as the gatekeeper, reducing access to academic work and opportunity for those with limited facility in English. Although writing programs are expected to provide services that range from instruction in correct grammar to assisting—or resisting—political correctness, expanding programs and shrinking faculty get caught in the crossfire. The bottom line becomes the firing line as forces outside the classroom determine funding and seek to define what composition should do.
In search of that definition, the contributors ask and answer a series of specific and salient questions: What implications—intellectual, political, and institutional—will forces outside the classroom have on the quality and delivery of composition in the twenty-first century? How will faculty and administrators identify and address these issues? What policies and practices ought we propose for the century to come?
This book features sixteen position papers by distinguished scholars and researchers in composition and rhetoric; most of the papers are followed by invited responses by other notable compositionists. In all, twenty-five contributors approach composition from a wide variety of contemporary perspectives: rhetorical, historical, social, cultural, political, intellectual, economic, structural, administrative, and developmental. They propose solutions applicable to pedagogy, research, graduate training of composition teachers, academic administration, and public and social policy. In a very real sense, then, this is the only book to offer a map to the future of composition.
A collection of twenty-four essays assessing and challenging the current state of writing instruction, Composition Studies in the New Millennium: Rereading the Past, Rewriting the Future emerges from presentations given at the national Writing Program Administrators conference held at Miami University in Oxford, Ohio, in 2001. Like its acclaimed and widely-used predecessor, Composition in the Twenty-First Century: Crisis and Change, this timely collection by leading scholars in composition studies responds to concerns about the evolution and future of this field of study.
Charting new directions, the contributors grapple with seven distinct questions: What do we mean by composition studies—past, present, and future? What do and should we teach when we teach composition? Where will composition be taught, and who will teach it? What theories and philosophies will undergird our research paradigms, and what will those paradigms be? How will new technologies change composition studies? What languages will our students write, and what will they write about? What political and social issues have shaped composition studies in the past and will shape this field in the future?
In addressing these queries, the essayists approach composition studies from perspectives ranging from rhetorical to cultural, political to economic, administrative to technological; and they do so with a style and organization appropriate for composition instructors, scholars, and administrators at all levels, from teaching assistants to college presidents. The result is an invaluable vision of the future of composition studies in the new millennium.
Darwin Reid Payne’s approach to theatrical design is that of a computer advocate and pioneer. With Computer Scenographics, he ushers in a new generation of scenery design by applying state-of-the-art technology to the traditional methods of scenography. Though not a how-to book, Computer Scenographics is a general introduction to, and an affirmation of, the value of computer graphics for both student and working scenographers.
Payne acknowledges that many scenographers would not want to use computers exclusively in the preparation of their designs. Today’s scenographers continue to value the manual skills of drawing and painting, learned and perfected over time, and would not consider abandoning these skills entirely. And it is unlikely that the most powerful computer or most sophisticated software could ever supplant that intimate interaction of hand and mind provided by traditional tools and materials. Nevertheless, Payne’s utilization of the Virtus Walk-Through computer program to facilitate set design expands the tools of the artist to new dimensions.
Aided by 129 illustrations, Payne addresses four major topics: (1) how computer studios are set up; (2) how computers serve as storage for visual ideas and as conceptual tools; (3) how technical information needed for producing a scenographer’s ideas onstage is created with computers; (4) and how modelmaking has been changed by computer-generated three-dimensional possibilities, especially by the introduction of "virtual reality" onto the computer platform.
Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film.
This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre.
Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis.
Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins.
Confederate Daughters: Coming of Age during the Civil War explores gender, age, and Confederate identity by examining the lives of teenage daughters of Southern slaveholding, secessionist families. These young women clung tenaciously to the gender ideals that upheld marriage and motherhood as the fulfillment of female duty and to the racial order of the slaveholding South, an institution that defined their status and afforded them material privileges. Author Victoria E. Ott discusses how the loyalty of young Southern women to the fledgling nation, born out of a conservative movement to preserve the status quo, brought them into new areas of work, new types of civic activism, and new rituals of courtship during the Civil War.
Social norms for daughters of the elite, their preparation for their roles as Southern women, and their material and emotional connections to the slaveholding class changed drastically during the Civil War. When differences between the North and South proved irreconcilable, Southern daughters demonstrated extraordinary agency in seeking to protect their futures as wives, mothers, and slaveholders.
From a position of young womanhood and privilege, they threw their support behind the movement to create a Confederate identity, which was in turn shaped by their participation in the secession movement and the war effort. Their political engagement is evident from their knowledge of military battles, and was expressed through their clothing, social activities, relationships with peers, and interactions with Union soldiers.
Confederate Daughters also reveals how these young women, in an effort to sustain their families throughout the war, adjusted to new domestic duties, confronting the loss of slaves and other financial hardships by seeking paid work outside their homes.
Drawing on their personal and published recollections of the war, slavery, and the Old South, Ott argues that young women created a unique female identity different from that of older Southern women, the Confederate bellehood. This transformative female identity was an important aspect of the Lost Cause mythology—the version of the conflict that focused on Southern nationalism—and bridged the cultural gap between the antebellum and postbellum periods.
Augmented by twelve illustrations, this book offers a generational understanding of the transitional nature of wartime and its effects on women’s self-perceptions. Confederate Daughters identifies the experiences of these teenage daughters as making a significant contribution to the new woman in the New South.
George W. Jarecke and Nancy K. Plant present a selection of cases across a broad spectrum of American law to demonstrate that our society relies inappropriately on the legal system to cure ills the system was not designed to address.
Jarecke and Plant note that while we in the United States worry considerably about the problem of individual assumption of responsibility—whether for personal mistakes, financial setbacks, or pure bad luck—we appear uneasy about the concept and unclear about what it means on a daily basis. Not only are we incapable of accepting personal responsibility; we barely know what it means to do so.
Mistakenly, we turn to the legal system to solve this dilemma. Yet our laws as our legislators write them, as judges interpret them, as lawyers argue them, and as juries apply them send mixed messages about whether and how we should exercise personal responsibility.
Each chapter of Confounded Expectations features one main case to explain one legal theory, with other cases noted as examples of facets of each theory. To demonstrate the law that requires merchants to guarantee the quality of their products, for example, Jarecke and Plant discuss the case of the band mothers whose fund-raising luncheon menu included turkey salad contaminated by salmonella. Peripheral cases include a horse falsely sold as a gelding, a riding mower that tipped over when used as instructed, makeup that was guaranteed to be safe but caused a rash, and pigs sick with hog cholera.
Written only a decade after George Rogers Clark’s conquest of Illinois, this firsthand account shows the region as it existed in the 1770s, explains how British occupation affected Kentucky settlers, and exhibits Clark’s enormous diplomatic skills in convincing the French settlers and Indians along the rivers of Illinois that they were better off under the jurisdiction of the Americans rather than the British. In his new foreword to this book, Rand Burnette refers to Clark as a psychologist and an expert in human relations.
Believing the British responsible for Indian raids on the people of Kentucky, Clark determined to capture that area, which was claimed by his home state of Virginia. “His plan, which he presented to Governor Patrick Henry,” Burnette notes, “was to take possession of the Illinois country by defeating the British at Kaskaskia, win the support of the French in that area, and thus control both the Mississippi and the Ohio Rivers. The British support of the Indians, who raided the Kentucky settlements from the Illinois country, would be at an end.”
Clark’s stirring narrative—written between 1789 and 1791 and covering 1773–1779—chronicles the events in the Old Northwest in the second half of the eighteenth century. Life on the frontier was dangerous and uncertain at this time. As Clark points out and Milo Milton Quaife underlines in his footnotes, death came to many at the hands of Indians or in military battles and skirmishes.
First published in 1920 and long out of print, the Quaife edition of Clark’s The Conquest of The Illinois reprinted here is for the modern reader superior to the original. First, Quaife provided an index. Equally important for modern readers, he standardized Clark’s spelling. (Clark had little formal education, and his spelling was even more eccentric than that found in a typical eighteenth-century account.) Finally, Quaife’s footnotes often include biographical sketches of the people in the book.
The Conscience of the Court celebrates the work of Justice William J. Brennan Jr., who served on the United States Supreme Court for thirty-four years (1956–1990).
Stephen L. Sepinuck and Mary Pat Treuthart introduce and present selected judicial opinions written by Justice Brennan on issues involving personal freedom, civil liberties, and equality. Brennan is ranked by many as the best writer ever to have served on the Supreme Court, and his written opinions depict real people, often in desperate, emotional situations. Remarkable for their clarity of analysis, for their eloquence, and for their forcefulness and persuasiveness, his opinions demonstrate that judicial thought need not be a proprietary enclave of lawyers or the intellectual elite.
The extended excerpts selected by Sepinuck and Treuthart highlight Brennan's approach to judicial decision making. Concerned always with how each decision would actually affect people's lives, Brennan possessed a rare quality of empathy. In Brennan, the editors note, "people and groups who lacked influence in society—Communists and flag burners, children and foreigners, criminal defendants and racial minorities"—found a champion they could count on "to listen to their causes and judge them unmoved by the passions of the politically powerful."
In their introduction to each opinion, the editors provide background facts, discuss how the excerpted opinion transformed the law or otherwise fit into the realm of constitutional jurisprudence, and delve into Justice Brennan's judicial philosophy, his method of constitutional interpretation, and the language he used.
Consolation Miracle is a book of visceral, image-driven poems that search for the miraculous in the seemingly ordinary. This collection fashions art out of artless objects as a consolation, or perhaps compensation, for their smallness. Yawns and pears, cockroaches and crows resonate against historically conflated backdrops, while our own hands seem suddenly strange as they hide themselves in our pockets, balance a burning cigarette between two fingers, or grip the gun that shot Lincoln. Other poems address the destruction of empire, the end of old Hollywood, and the hyperbolic fizzling out of entire centuries. Here, consolation miracles are rarely the ones sought after, yet they radiate in their neglect. Davidson’s poems help us understand the inner life of cows, imagine the plight of a banished Kama Sutra illustrator, speculate about Cleopatra’s lingerie. With a title borrowed from Gabriel García Márquez, Consolation Miracle contains a magical realism for the twenty-first century.
From the creation of a neuter pronoun in her earliest work, L’Opoponax, to the confusion of genres in her most recent fiction, Virgile, non, Monique Wittig uses literary subversion and invention to accomplish what Erika Ostrovsky appropriately defines as renversement, the annihilation of existing literary canons and the creation of highly innovative constructs.
Erika Ostrovsky explores those aspects of Wittig’s work that best illustrate her literary approach. Among the countless revolutionary devices that Wittig uses to achieve renversement are the feminization of masculine gender names, the reorganization of myth patterns, and the replacement of traditional punctuation with her own system of grammatical emphasis and separation. It is the unexpected quantity and quality of such literary devices that make reading Monique Wittig’s fiction a fresh and rewarding experience. Such literary devices have earned Wittig the acclaim of her critics and peers—Marguerite Duras, Mary McCarthy, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, to name a few.
While analyzing the intrinsic value of each of Wittig’s fictions separately, Erika Ostrovsky traces the progressive development of Wittig’s major literary devices as they appear and reappear in her fictions. Ostrovsky maintains that the seeds of those innovations that appear in Wittig’s most recent texts can be found as far back as L’Opoponax. This evidence of progression supports Ostrovsky’s theory that clues to Wittig’s future endeavors can be found in her past.
In recognition of the bicentennial of the Constitution of the United States, former chief justice Warren E. Burger, Justice Antonin Scalia, ACLU president Norman Dorsen, and others delivered papers at the first annual DeWitt Wallace Conference on the Liberal Arts, held at Macalester College, St. Paul.
Joining some of the best legal minds in America were novelist John Edgar Wideman, chemist Harry B. Gray, historian Mary Beth Norton, and psychiatrist and social psychologist Robert Jay Lifton.
Opening the conference and this book, former chief Justice Burger emphasizes the daring of those who drafted the Constitution. Justice Scalia, noting the great reduction in curbs to freedom of expression since World War I, points out that the proliferation of freedom has forced courts to distinguish between types of expression.
Although the views expressed in these essays differ widely, opinion concerning the major issue falls into two definite camps: Burger, Scalia, and Dorsen contend that freedom of expression depends on the legal structure for survival; Wideman, Gray, Lifton, and Norton maintain that social forces determine freedom of expression.
Charles Bazerman’s newest book, a selection of both his published and unpublished essays from recent years, ranges from pedagogy to research to theory, exploring how all three levels are motivated by common concerns and how they are integrated through similar concepts and approaches. From this integrative perspective, Bazerman reveals his life-long inquiry into the nature of language—why it exists and what place it holds in the social world.
Presenting a powerful, action-oriented view of language that finds meaning in local circumstances and local uses, Bazerman divides his essays into four parts, beginning with an examination of the classroom experience. In describing the dynamics of the classroom and the relationship of the classroom to surrounding social arrangements, Bazerman notes how reading relates to writing, how interpersonal relations influence and structure acts of reading and writing, and how reading and writing are themselves forms of social action.
Bazerman, in parts 2 and 3, explains how larger forms of social structure are in dialectic with local acts of literacy, how experience of the world influences both everyday writing and empirically driven research, and how individuals conceive of social situations and actions to think about and plan activities. As he admittedly puzzles through conceptual obstacles, Bazerman explores many of the terms and theories evoked in rhetorical studies and provides a critical examination of the theories of James Kinneavy as well as more general thoughts on the nature of rhetorical study.
In part 4, Bazerman reinterprets the classical rhetorical concept of kairos in the light of theory and research in the social sciences, analyzes intertextuality in a scientific text, and offers a rereading of the writings of Adam Smith.
Throughout this book, Bazerman maintains that research into writing is the examination of what people do and have done, what influences what they do, and what texts do to people who write and read them. In addition, he reiterates the importance of literacy as a connecting device, essential to survival, growth, and change. Lack of literacy cuts people off from the institutions and means of life in a society.
In nineteen essays illustrating its many aspects, this book offers an argument for what it takes to construct a complete rhetorical education.
The editors take an approach that is pragmatic and pluralistic, based as it is on the assumptions that a rhetorical education is not limited to teaching freshman composition (or any specific writing course) and that the contexts in which such an education occurs are not limited to classrooms. This thought-provoking volume stresses that while a rhetorical education results in the growth of writing skills, its larger goal is to foster critical thinking.
Based on five years of close observation of students, writing and collaborative planning—the practice in which student writers take the roles of planner and supporter to help each other develop a more rhetorically sophisticated writing plan—foremost cognitive composition researcher Linda Flower redefines writing in terms of an interactive social and cognitive process and proposes a convincing and compelling theory of the construction of negotiated meaning.
Flower seeks to describe how writers construct meaning. Supported by the emerging body of social and cognitive research in rhetoric, education, and psychology, she portrays meaning making as a literate act and a constructive process. She challenges traditional definitions of literacy, adding to that concept the elements of social literate practices and personal literate acts. In Flower’s view, this social cognitive process is a source of tension and conflict among the multiple forces that shape meaning: the social and cultural context, the demands of discourse, and the writer’s own goals and knowledge.
Flower outlines a generative theory of conflict. With this conflict central to her theory of the construction of negotiated meaning, she examines negotiation as an alternative to the metaphors of reproduction and conversation. It is through negotiation, Flower argues, that social expectations, discourse conventions, and the writer’s personal goals and knowledge become inner voices. The tension among these forces often creates the hidden logic behind student writing. In response to these conflicting voices, writers sometimes rise to the active negotiation of meaning, creating meaning in the interplay of alternatives, opportunities, and constraints.In Contemporary Latina/o Theater, Jon D. Rossini explores the complex relationship between theater and the creation of ethnicity in an unprecedented examination of six Latina/o playwrights and their works: Miguel Piñero, Luis Valdez, Guillermo Reyes, Octavio Solis, José Rivera, and Cherríe Moraga. Rossini exposes how these writers use the genre as a tool to reveal and transform existing preconceptions about their culture. Through “wrighting”—the triplicate process of writing plays, righting misconceptions about ethnic identity, and creating an entirely new way of understanding Latina/o culture—these playwrights directly intervene in current conversations regarding ethnic identity, providing the tools for audiences to reexplore their previously held perspectives outside the theater.
Examining these writers and their works in both cultural and historical contexts, Rossini reveals how playwrights use the liminal space of the stage—an area on the thresholds of both theory and reality—to “wright” new insights into Latina/o identity. They use the limits of the theater itself to offer practical explorations of issues that could otherwise be discussed only in highly theoretical terms.
Rossini traces playwrights’ methods as they address some of the most challenging issues facing contemporary Latinas/os in America: from the struggles for ethnic solidarity and the dangers of a community based in fear, to stereotypes of Latino masculinity and the problematic fusion of ethnicity and politics. Rossini discusses the looming specter of the border in theater, both as a conceptual device and as a literal reality—a crucial subject for modern Latinas/os, given recent legislation and other actions. Throughout, the author draws intriguing comparisons to the cultural limbo in which many Latinas/os find themselves today.
An indispensable volume for anyone interested in drama and ethnic studies, Contemporary Latina/o Theater underscores the power of theatricality in exploring and rethinking ethnicity. Rossini provides the most in-depth analysis of these plays to date, offering a groundbreaking look at the ability of playwrights to correct misconceptions and create fresh perspectives on diversity, culture, and identity in Latina/o America.
This selection of articles by Lewis E. Hahn addresses the philosophical school of contextualism and four contemporary American philosophers: John Dewey, Henry Nelson Wieman, Stephen C. Pepper, and Brand Blanshard.
Stressing the relatively recent contextualistic worldview, which he considers one of the best world hypotheses, Hahn seeks to achieve a broad perspective within which all things may be given their due place. After providing a brief outline, Hahn explains contextualism in relation to other philosophies. In his opening chapter, as in later chapters, he expresses contextualism as a form of pragmatic naturalism. In spite of Hahn’s high regard for contextualism, however, he does not think it would be good if we were limited to a single worldview. “The more different views we have and the more different sources of possible light we have, the better our chances that some of these cosmic maps will shed light on our world and our place in it.”
TyAnna K. Herrington explains current intellectual property law and examines the effect of the Internet and ideological power on its interpretation. Promoting a balanced development of our national culture, she advocates educators’ informed participation in ensuring egalitarian public access to information. She discusses the control of information and the creation of knowledge in terms of the way control functions under current property law.
By illuminating Jonathan Swift’s fascination with language, Marilyn Francus shows how the linguistic questions posed by his work are at the forefront of twentieth-century literary criticism: What constitutes meaning in language? How do people respond to language? Who has (or should have) authority over language? Is linguistic value synonymous with literary value?
Francus starts with a detailed analysis of Swift’s linguistic education, which straddled a radical transition in linguistic thought, and its effect on his prose. This compelling beginning includes sometimes surprising historical information about the teaching and learning of linguistics and language theory in the seventeenth and eighteenth centuries. Swift’s academic studies reflected the traditional universalist view that seeks an Adamic language to reverse the fragmentation of Babel and achieve epistemological unity. But Swift’s tutor also exposed him to the contemporary linguistics of the scientific societies and of John Locke, who argued that the assignment of linguistic meaning is arbitrary and subjective, capturing an individual’s understanding at a particular instant. These competing theories, Francus maintains, help explain the Irish writer’s conflicting inclinations toward both linguistic order and freewheeling creativity.
To develop a complete vision of Swiftian linguistics, Francus focuses on A Tale of a Tub as the archetypal linguistic text in the Swift canon, but she also includes evidence from his other famous works, including Gulliver’s Travels, A Modest Proposal, Journal to Stella, and The Bickerstaff Papers, as well as from his lesser known religious and political tracts and his correspondence. In addition, Francus draws on the relevant work of contemporary linguists (such as Wilkins, Watts, Dyche, and Stackhouse), philosophers (Hobbes and Locke), and authors (including Temple, Sprat, Dryden, Pope, Addison, and Defoe).
Francus concludes that Swift occupies a pivotal place in literary history: his conscious emphasis on textuality and extended linguistic play anticipates not only the future of satiric prose but the modern novel as well.
Cooking Plain, Illinois Country Style by Helen Walker Linsenmeyer presents a collection of family recipes created prior to 1900 and perfected from generation to generation, mirroring the delicious and distinctive kind of cookery produced by the mix of people who settled the Illinois Country during this period. Some recipes reflect a certain New England or Southern influence, while others echo a European heritage. All hark back to a simpler style of living, when cooking was plain yet flavorful.
The recipes specify the use of natural ingredients (including butter, lard, and suet) rather than synthetic or ready-mixed foods, which were unavailable in the 1800s. Cooking at the time was pure and unadulterated, and portions were large. Strength-giving food was essential to health and endurance; thus fare was pure, hearty, flavorful, and wholesome.
The many treasures of Cooking Plain, Illinois Country Style include
• basic recipes for mead, originally served to the militiamen of Jackson County; sumac lemonade, made the Indian way; root beer, as it was originally made;
• soups of many kinds—from wholesome vegetable to savory sorrel leaf, enjoyed by the Kaskaskia French;
• old-fashioned fried beefsteak, classic American pot roast and gravy, as well as secret marinades to tenderize the tougher but more flavorful cuts of meat;
• methods for preparing and cooking rabbit, squirrel, wild turkey, venison, pheasant, rattlesnake, raccoon, buffalo, and fish;
• over one hundred recipes for wheat breads, sweet breads, corn breads, and pancakes;
• an array of delectable desserts and confections, including puddings, ice cream, taffy, and feathery-light cakes and pies;
• sections on the uses of herbs, spices, roots, and weeds; instructions for making sausage, jerky, and smoked fish and for drying one’s own fruits and vegetables; and household hints on everything from making lye soap to cooking for the sick.
And there are extra-special nuggets, too, for Mrs. Linsenmeyer laces her cookbook with interesting biographical notes on a number of the settlers and the origin of many of the foods they used. There is also a wealth of historical information on lifestyles and cooking before 1900, plus helpful tips on the use of old-fashioned cooking utensils.
A working cookbook complete in its coverage of every area of food preparation, Cooking Plain, Illinois Country Style will be used and treasured as much today as its recipes were by families of an earlier century. The recipes are not gourmet, but they are certain to please today’s cooks, especially those interested in using local ingredients and getting back to a more natural way of cooking and eating.
These thirteen original essays were written specifically for the Third J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, held February 21–22, 1981, at the University of California, Riverside.
Leslie Fiedler sets the tone of this volume by fixing a basic set of coordinates—that of “elitist” and “popular” standards.
Those replying to his charge are: Eric S. Rabkin, Professor of English at the University of Michigan and author of The Fantasticin Literature, “The Descent of Fantasy”; Gerald Prince, Professor of French at the University of Pennsylvania, “How New is New?”; Mark Rose, Professor of English at the University of California at Santa Barbara, author of Alien Encounters, “Jules Verne: Journey to the Center of Science Fiction”; Joseph Lenz, who teaches English Literature at the University of Michigan, “Manifest Destiny: Science Fiction Epic and Classical Forms”; Michelle Massé, of the English Department at the George Mason University, “‘All you have to do is know what you want’: Individual Expectations in Triton”;Gary K. Wolfe, who teaches English at Roosevelt University, author of The Known and the Unknown, “Autoplastic and Alloplastic Adaptations in Science Fiction: ‘Waldo’ and ‘Desertion’”; Robert Hunt, an editor with Glencoe Press, “Science Fiction for the Age of Inflation: Reading Atlas Shrugged in the 1980s”; George R. Guffey, Professor of English at UCLA, “Fahrenheit 451and the ‘Cubby-Hole Editors’ of Ballantine Books”; H. Bruce Franklin, Professor of English and American Literature at Rutgers University at Newark, “America as Science Fiction: 1939”; Sandra M. Gilbert, Professor of English at the University of California at Davis, and coauthor with Susan Gubar of Madwoman in the Attic, “Rider Haggard’s Heart of Darkness”; the aforementioned Susan Gubar, Professor of English at Indiana University, “She in Her/and: Feminism as Fantasy”; and George R. Slusser, Curator of the Eaton Collection, “Death and the Mirror: Existential Fantasy.”
Currently, 1.7 million Americans are either blind or are in the process of losing their vision. Sightless himself and a veteran of four decades of helping people cope with blindness as well as with the possibility of blindness, Alvin Roberts decided that telling stories drawn from the community of the blind and from his fellow rehabilitation workers was the best way to reassure others—especially the elderly, who are most at risk of becoming visually impaired—that "blindness need not be the end of active life, but rather the beginning of a life in which [people] will depend on their residual senses to continue full, active living."
Through good stories well told, then, Roberts offers reassurance that competent help exists for the visually impaired. He chooses stories that demonstrate to those facing blindness that they, too, can learn to cope because others have done so. Yet that is only part of his message. Seeing humor as a great facilitator for successfully reentering mainstream society, Roberts also dispels the commonly held belief that blind people are a somber lot and that those who help them encounter little humor. Many of these stories are frankly funny, and blind people and those in the rehabilitation field certainly are not above practical jokes.
Roberts’s personal experiences and conversations with colleagues have provided a wealth of incidents on which to base stories of rehabilitation workers with the blind going about their daily tasks. He paints a positive picture of what it is like to be blind, replacing fear, dread, and myth with reality.
In this comprehensive aviation manual, Raoul Castro provides a source of invaluable corporate aviation management information. He begins by giving an overview of corporate aviation from its inception, then focuses on the management principles and functions that specifically target corporate aviation. Through the utilization of these sound management principles, Castro facilitates the acceptance of corporate aircraft as indispensable tools of industry.
As Castro notes, few companies know how to use corporate aircraft to maximum advantage. Drawing on his expertise and experience, Castro designs a plan by which a company can achieve maximum utilization of an airplane or helicopter fleet. He gives specific instructions on how to facilitate the efficient use of the aviation department of a company, select appropriate aircraft, plan for disasters and establish security measures, fulfill legal requirements of the governmental agencies that regulate the use of aircraft, and manage the maintenance and repair of aircraft. Castro also discusses the scores of details involved in the management of a professional corporate aviation branch and how these details can be handled in a positive, productive manner.
After thoroughly examining the overall managerial functions involved in planning, organizing, controlling, and implementing an aviation arm, Castro concludes by discussing the future of corporate aviation.
This book is a practical and valuable guide for the executive in charge of an aviation department, an aviation department manager or chief pilot, aspirants to aviation management positions, and both students and teachers of aviation management.
Caresse Crosby rejected the culturally prescribed roles for women of her era and background in search of an independent, creative, and socially responsible life. Poet, memoirist, advocate of women’s rights and the peace movement, Crosby published and promoted modern writers and artists such as Hart Crane, Dorothy Parker, Salvador Dalí, and Romare Bearden. She also earned a place in the world of fashion by patenting one of the earliest versions of the brassiere.
Behind her public success was a chaotic life: three marriages, two divorces, the suicide of her husband Harry Crosby, strained relationships with her children, and legal confrontations over efforts to establish a center for world peace. As the first biographer to consider both the literary and social contexts of Crosby’s life, Linda Hamalian details Crosby’s professional accomplishments and her personal struggles. The Cramoisy Queen: A Life of Caresse Crosby also measures the impact of small presses on modernist literature and draws connections between key writers and artists of the era.
In addition to securing a place for Crosby in modern literary and cultural history, The Cramoisy Queen: A Life of Caresse Crosby contributes to the field of textual studies, specifically the complexities of integrating autobiography and correspondence into biography. Enhanced by thirty-two illustrations, the volume appeals to a wide range of readers, including literary critics, cultural historians, biographers, and gender studies specialists.
This guidebook for transforming actual American figures and events into dramatic form has aided many communities and groups in writing, planning, and producing first-rate historical dramas. The new edition of Creating Historical Drama: A Guide for Communities, Theatre Groups, and Playwrights features updated examples of drama and dramatic activities from short indoor productions to large-scale, outdoor historical dramas; new material about funding, economic impact on communities, budgeting, and marketing; and current information on physical theatre development.
Responding to a national interest in dramatizing historical material in a variety of community settings, the volume begins with a discussion on the scope and sources of historical drama, as well as the reasons for historicizing drama. From there, it details the features of biography, pageant, and epic dramas, and takes on important issues such as historical accuracy and dealing with expository material. The handbook then provides assistance in composing drama, leading and organizing the theatre group, organizing the community’s resources, and evaluating the audience and the production site. Twenty-nine illustrations, with sketches by Darwin Payne and Ronald Naverson, augment the discussion.
Written for the nonspecialist and particularly useful to novice playwrights and directors, the volume is equally important for professional historians, educators, and theatre artists. More than a guidebook, Creating Historical Drama convincingly demonstrates that the genre is a beneficial and significant cultural phenomenon that not only educates and entertains, but also has the power to revitalize civic economy and morale.
Combining his skills as both a professional reviewer of theatre and a literary critic, Robert J. Andreach finds himself in a unique position to provide coherence to what most observers perceive as an unrelated welter of contemporary theatrical experiences. Exploring the theatre from the 1960s to the present, he shows the various ways in which the contemporary American theatre creates a personal, theatrical, and national self.
Andreach argues that the contemporary American theatre creates multiple selves that reflect and give voice to the many communities within our multicultural society. These selves are fragmented and enclaved, however, which makes necessary a counter movement that seeks, through interaction among the various parts, to heal the divisions within, between, and among them.
In his examination of the contemporary theatre, Andreach demonstrates that the plays and the performance art of the feminist, African-American, Hispanic-American, Asian-American, and Native American theatres are equal to the works created within the dominant Eurocentric culture.
He then turns to comparable works created within the culture of what performance artist Karen Finley calls the "one male god," works that reflect the breakup of an old order. He discusses the experimental theatre, which turns to the imagination to reveal the nature of the self, and concludes with an examination of recent American works, pointing out in each either the presence or absence of resolution within the divisions of self.
Analyzing the development of a Swedish American identity
The Creation of an Ethnic Identity: Being Swedish American in the Augustana Synod, 1860–1917 analyzes how Swedish American identity was constructed, maintained, and changed in the late nineteenth and early twentieth centuries. The Augustana Synod, the largest religious-based organization created by Swedish immigrants in the United States, played an important role in establishing what it meant to be Swedish American.
In this study, author Dag Blanck poses three fundamental questions: How did an ethnic identity develop in the Augustana Synod? What was that identity? Why was an ethnic identity formed? Based on primary sources formerly unknown or neglected, The Creation of an Ethnic Identity examines the Lutheran Augustana Synod, Augustana College, and the Augustana Book Concern to provide insights into how ethnic identity is constructed within a major religious body, a central educational institution, and a major publishing house.
Starting from the concept of ethnicity as something created or invented, Blanck goes on to explore how it was possible for a white European immigrant group like the Swedes to use its ethnicity as a tool of integration into American society. The nature of their ethnicity, says Blanck, was both determined by their cultural origins and also the values and nature of American society as they perceived it. Becoming Swedish American was also a way of becoming American.
The volume, which is augmented by illustrations, integrates the most critical scholarship on immigration and ethnicity over the past half century and provides a strong argument about how ethnicity is shaped over time within an immigrant group.
Concerned with criticizing representational theories of knowledge by developing alternative concepts of knowing and communicating, Ian Angus and Lenore Langsdorf bring together eight essays that are united by a common theme: the convergence of philosophy and rhetoric.
In the first chapter, Angus and Langsdorf illustrate the centrality of critical reasoning to the nature of questioning itself, arguing that human inquiry has entered a "new situation" where "the convictions and orientations that have traditionally marked the separation of rhetoric and philosophy—the concern for truth and the focus on persuasion—have begun to converge on a new space that can be defined through the central term discourse."In these essays, this convergence of rhetoric and philosophy is addressed as it presents itself to a variety of interests that transcend the traditional boundaries of these fields.
The two editors, Raymie E. McKerrow, Michael J. Hyde and Craig R. Smith, James W. Hikins and Kenneth S. Zagacki, Calvin O. Schrag and David James Miller, and Richard L. Lanigan map this new space, recognizing that such mapping "simultaneously constitutes the territory mapped."
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