In the only critical examination of all of Jack Kerouac's published prose, James T. Jones turns to Freud to show how the great Beat writer used the Oedipus myth to shape not only his individual works but also the entire body of his writing.

Like Balzac, Jones explains, Kerouac conceived an overall plan for his total writing corpus, which he called the Duluoz Legend after Jack Duluoz, his fictional alter ego. While Kerouac's work attracts biographical treatment—the ninth full-length biography was published in 1998—Jones takes a Freudian approach to focus on the form of the work. Noting that even casual readers recognize family relationships as the basis for Kerouac's autobiographical prose, Jones discusses these relationships in terms of Freud's notion of the Oedipus complex.

After establishing the basic biographical facts and explaining Freud's application of the Oedipus myth, Jones explicates Kerouac's novels of childhood and adolescence, focusing on sibling rivalry. Supporting his contention that the Beat writer worked according to a plan, Jones then shows how Kerouac revised The Town and the City (1950), his first published novel, in Vanity of Duluoz, the last novel published in his lifetime, to de-emphasize the death of the father. He treats three versions of Kerouac's road novel—including On the Road—as versions of Oedipus's fateful journey from Corinth to Thebes. And he argues that Pic, often considered peripheral to the Duluoz Legend, replicates the Oedipal themes.

Jones demonstrates that Maggie Cassidy, The Subterraneans, and Tristessa share a form that results from Kerouac's unresolved rivalry with his father for the love of his mother. He discusses Kerouac's replacement of the destructive brother figures in On the Road and Visions of Cody with the constructive hero of The Dharma Bums. He also shows how the Oedipal structure of the Duluoz Legend applies to Kerouac's nonfiction.

In the penultimate chapter, Jones explains how Big Sur, Kerouac's story of his alcohol-induced nervous breakdown, actually marks the climax of the Duluoz Legend. The alcoholism, Jones insists, is not the cause but a symptom of a breakdown brought on by his attachment to his mother. He shows how Kerouac's obsession with his family repeats Oedipal themes throughout the Duluoz Legend. Finally, he deals with Oedipal themes in Kerouac's nonnarrative work, including Old Angel Midnight, Some of the Dharma, The Scripture of the Golden Eternity, and several poems.

The French writer, editor, and drama critic Jacques Copeau (1879–1949) opened his Théâtre du Vieux-Colombier in Paris in 1913. Copeau was well on his way to exerting a major influence in the theater in the year that saw the end of the career of the dominant innovator of an earlier generation, André Antoine, whose Théâtre Libre (Free Stage) had featured an uncompromising realism.

In marked contrast to Antoine, Copeau returned the poetry and freshness to Shakespeare and Moliére. By May 1914, Paris and Europe had recognized his genius and his special gift to the theater. Yet like Antoine, Copeau wanted to sweep "staginess" from the stage, to banish overacting, overdressing, and flashy house trappings. To cleanse the stage of its artificiality, he created a fixed, architectural acting space where dramatic literature and theater technique could live in harmony and thrive in freedom of thought and movement. A major part of his program was teaching actors and actresses their craft.

Maurice Kurtz points out that the Théâtre du Vieux-Colombier incarnates the "ideal of Copeau's stubborn struggle to remain strong in the face of indifference, independent in the face of success, proud in the face of defeat. It is the story of group spirit in its purest, most eloquent form, the spirit of personal sacrifice of all for the dignity of their art."

Kurtz here re-creates the vitality Copeau imbued in theater artists throughout the world. He conveys Copeau's enthusiasm, the crusading spirit that enabled Copeau and his Théâtre du Vieux-Colombier to transform experimentation into tradition, into the heritage of civilization. He has written a biography of a theater that was tremendously influential in Europe and America.

In his analysis of the current Japanese corrections system, internationally respected criminologist Elmer H. Johnson focuses on three basic questions: What are the characteristics of the major programmatic elements? How do various personnel carry out their programmatic responsibilities? Why are the various duties and activities carried out in a particular way?

Johnson points out that compared with the United States, where prison populations are huge and often violent, Japan incarcerates relatively few criminals. In 1989, for example, Japan locked up only 34 out of every 100,000 citizens while the United States imprisoned people at a rate of 271 per 100,000. Examining the cultural differences leading to this disparity, Johnson notes that in Japan prosecutors are reluctant to refer defendants for trial and the courts often suspend sentences for convicted felons.

Johnson sums up by noting that both the Correction Bureau and the Rehabilitation Bureau depend on the overall operations of police, prosecutors, and judges. More broadly, he asserts, both bureaus are creatures of Japanese society and culture. The assets and disadvantages of the bureaus reflect society’s reluctance to sentence defendants to prison and, to a lesser extent, the reluctance to place them on probationary supervision.

 

Jean Baudrillard has been studied as sociologist, philosopher, cultural theorist, political commentator, and photographer. Brian Gogan establishes him as a rhetorician, demonstrating how the histories, traditions, and practices of rhetoric prove central to his use of language. In addition to Baudrillard’s standard works, Gogan examines many of the scholar’s lesser-known writings that have never been analyzed by rhetoricians, and this more comprehensive approach presents fresh perspectives on Baudrillard’s work as a whole.

Gogan examines both the theorist and his rhetoric, combining these two lines of inquiry in ways that allow for provocative insights. Part one of the book explains Baudrillard’s theory as compatible with the histories and traditions of rhetoric, outlining his novel understanding of rhetorical invention as involving thought, discourse, and perception. Part two evaluates Baudrillard’s work in terms of a perception of him—as an aphorist, an illusionist, an ignoramus, and an ironist. A biographical sketch and a critical review of the literature on Baudrillard and rhetoric round out the study.

This book makes the French theorist’s complex concepts understandable and relates them to the work of important thinkers, providing a thorough and accessible introduction to Baudrillard’s ideas.
 

Although the nation changed substantially between the presidential terms of Thomas Jefferson and Abraham Lincoln, these two leaders shared common interests and held remarkably similar opinions on many important issues. In Jefferson, Lincoln, and the Unfinished Work of the Nation, Ronald L. Hatzenbuehler describes the views of two of our nation’s greatest presidents and explains how these views provide valuable insight into modern debates.

 In this groundbreaking new study—the first extended examination of the ideas of Lincoln and Jefferson—Hatzenbuehler provides readers with a succinct guide to their opinions, comparing and contrasting their reasoned judgments on America’s republican form of government. Each chapter is devoted to one key area of common interest: race and slavery, the pros and cons of political parties, state rights versus federal authority, religion and the presidency, presidential powers under the Constitution, or the proper political economy for a republic. Relying on the pair’s own words in their letters, writings, and speeches, Hatzenbuehler explores similarities and differences between the two men on contentious issues. Both, for instance, wrote that they were antislavery, but Jefferson never acted on this belief, while Lincoln moved toward a constitutional amendment banning slavery. The book’s title, taken from the Gettysburg Address, builds on both presidents’ expectations that Americans should dedicate themselves to the unfinished work of returning the nation to its founding principles.

Jefferson and Lincoln wrestled with many of the same issues and ideas that intrigue and divide Americans today. In his thought-provoking work, Hatzenbuehler details how the two presidents addressed these issues and ideas, which are essential to understanding not only America’s history but also the continuing influence of the past on the present.
 

Jerusalem, Take One! Memoirs of a Jewish Filmmaker is a behind-the-scenes look at the life of documentary filmmaker Alan Rosenthal, the maker of over sixty films including Day of Peace, Out of the Ashes, A Nation Is Born, and On the Brink of Peace. As a witness to so much recent Israeli history through a camera’s viewfinder, Rosenthal himself makes as much of an interesting subject as the events he documents.

Born in London in 1936, Rosenthal studied law at Oxford before beginning his work in television directing in Israel and the United States. By the 1960s he was an established young filmmaker who had participated in the filming of the Eichmann trial in Jerusalem in 1961. He returned in 1968, initially for just one year, as part of a team invited by the Israeli government to set up the first television network; that year turned into the thirty-plus years that inspired this book. 

The Eichmann trial, the development of Israel Television, the Oslo agreement, the search for the menorah from the Second Temple, the history of Zionism on the television screen, and the Yom Kippur War and Project Renewal are but a few of the recent moments in Israeli history that Rosenthal and his camera have witnessed.  As he recalls these events with humor and wit, Rosenthal’s words recapture the emotions and feel of those times as vividly as his lens recorded their passing.

This is a memoir, not a history textbook, and Rosenthal himself is the true subject of the book’s most intensely personal and introspective moments, stories of growth and learning, of England and family, of love and loss, of ideological disappointment and renewed hope. Rosenthal’s tale is one of progress toward the man he wishes to be, the films he feels he must make, and the cultural identity he seeks to develop for himself and all Jewish people.

One of America’s preeminent educational philosophers and public intellectuals, John Dewey is perhaps best known for his interest in the study of pragmatic philosophy and his application of progressive ideas to the field of education. Carrying his ideas and actions beyond the academy, he tied his philosophy to pacifist ideology in America after World War I in order to achieve a democratic world order. Although his work and life have been well documented, his role in the postwar peace movement has been generally overlooked.
 
In John Dewey, America’s Peace-Minded Educator, authors Charles F. Howlett and Audrey Cohan take a close look at John Dewey’s many undertakings on behalf of world peace. This volume covers Dewey’s support of, and subsequent disillusionment with, the First World War as well as his postwar involvement in trying to prevent another world war. Other topics include his interest in peace movements in education, his condemnation of American military intervention in Latin America and of armaments and munitions makers during the Great Depression, his defense of civil liberties during World War II, and his cautions at the start of the atomic age. The concluding epilogue discusses how Dewey fell out of favor with some academics and social critics in the 1950s and explores how Dewey’s ideas can still be useful to peace education today.
 
Exploring Dewey’s use of pragmatic philosophy to build a consensus for world peace, Howlett and Cohan illuminate a previously neglected aspect of his contributions to American political and social thought and remind us of the importance of creating a culture of peace through educational awareness.
 

“These essays build a valuable, if virtual, bridge between the thought of John Dewey and that of a host of modern European philosophers. They invite us to entertain a set of imagined conversations among the mighty dead that no doubt would have intrigued Dewey and each of the interlocutors gathered here.”—Robert Westbrook, author of John Dewey and American Democracy and/or Democratic Hope: Pragmatism and the Politics of Truth.

John Dewey and Continental Philosophy provides a rich sampling of exchanges that could have taken place long ago between the traditions of American pragmatism and continental philosophy had the lines of communication been more open between Dewey and his European contemporaries. Since they were not, Paul Fairfield and thirteen of his colleagues seek to remedy the situation by bringing the philosophy of Dewey into conversation with several currents in continental philosophical thought, from post-Kantian idealism and the work of Friedrich Nietzsche to twentieth-century phenomenology, hermeneutics, and poststructuralism.

John Dewey and Continental Philosophy demonstrates some of the many connections and opportunities for cross-traditional thinking that have long existed between Dewey and continental thought, but have been under-explored. The intersection presented here between Dewey’s pragmatism and the European traditions makes a significant contribution to continental and American philosophy and will spur new and important developments in the American philosophical debate.

More than any other person, Jack C. Ellis notes, John Grierson, a Scot, was responsible for the documentary film as it has developed in English-speaking countries.

While in the United States in the 1920s, Grierson first applied the term documentary to Robert Flaherty's Moana. In 1927, Grierson returned to Britain, where he was hired to promote the marketing of products of the British Empire. The first practical application of Grierson’s theory of documentary film was Drifters, a 1929 short feature about herring fishing in the North Sea. That success led Grierson to establish the Empire Marketing Board Film Unit (later the General Post Office Film Unit).

In 1939, Grierson moved to Canada, leaving behind a legacy of some sixty British filmmakers who spread his ideas and techniques to other countries. In Canada, he progressed beyond national concerns to global problems. The National Film Board of Canada stands as the largest and most impressive monument to Grierson's concepts and actions in regard to the use of film by governments in communicating with citizens.

            

Ellis examines Grierson's accomplishments in detail, probing the complexities of Grierson's motivations and personality. His subject, a true titan in the world of documentary film, was the first filmmaker to use public and private institutional sponsorship—not the box office—to pay for his films. He also employed nontraditional distribution techniques, going outside the movie theaters to reach audiences in schools and factories, union halls, and church basements. Essentially, Grierson created documentary film and established an audience for it.

            

Until his death in 1944, Holloway attended almost every performance of the Abbey Theatre and daily recorded in his journal his reactions to plays and players and his comments about and conversations with literary and theatrical people. From the journal’s 221 bulky volumes, housed in the National Library of Ireland, Mr. Hogan and Mr. O’Neill have compiled this book of extracts from the approximately 25,000,000 words written by the Irishman. The years from 1899 to 1926 were chosen because they are generally considered to be the significant ones for the Abbey Theatre: the year of its founding to the production of Sean O’Casey’s The Plough and the Stars, which caused a riot in the theatre. Mr. Holloway attended every play during these years, as well as many rehearsals, and talked with nearly everybody who had anything to do with the theatre. This journal reflects the tensions, feuds, and anguish that produced one of the great theatres of modern times.

The meticulous display of minute detail makes Joseph Holloway’s Abbey Theatre imperative reading for the student of modern theatre, particularly since its character as a daily account permits ready checking of dates listed in previous works about the Irish National Theatre.

In this, the first thoroughly researched scholarly biography of British actor Junius Brutus Booth, Stephen M. Archer reveals Booth to have been an artist of considerable range and a man of sensitivity and intellect. Archer provides a clear account of Booth’s professional and personal life and places him in relationship to his contemporaries, particularly Edmund Kean and William Charles Macready.
 

From 1817 to 1852 Junius Brutus Booth toured throughout North America, enjoying a reputation as the most distinguished Shakespearean tragedian on the American continent. Still, he yearned for success on the British stage, a goal he never attained. His public image as a drunken, dangerous lunatic obscured a private life filled with the richness of a close and loyal family.

The worldwide fame assured for the Booth family of actors by John Wilkes Booth’s bone-shattering leap from the President’s box had eluded Junius Brutus Booth throughout his lifelong exile in America. But from that event until today, no American family of actors has stimulated such scrutiny as the Booths.

Eight years of research, pursuing Booth from Amsterdam to San Francisco, has resulted in an accurate, fascinating narrative that both records and illuminates the actor’s life.

The first scholar to investigate the subject of women’s anger in early modern England, Gwynne Kennedy analyzes portrayals of and attitudes toward women’s anger in printed texts by or purporting to be written by women during the period.

Kennedy draws from recent critical work on emotions by historians, literary scholars, philosophers, and psychologists as well as comparative studies of the emotions by cultural anthropologists. Kennedy also examines a number of male-authored works, including sermons, conduct literature, philosophy, rhetoric, and medicine. The focus of her work, however, is on representations of women’s anger in printed works signed with women’s names in late sixteenth- and early seventeenth-century England. She addresses the ways these writings conform to, conflict with, or appear to reconfigure prevailing beliefs about women’s anger.

Kennedy looks at such literary texts as Mary Wroth’s romance, The Countess of Montgomery’s Urania, the first fiction by an English woman; Elizabeth Cary’s play, The Tragedy of Mariam, the earliest extant play in English by a woman; and Aemilia Lanyer’s verse collection, Salve Deus Rex Judaeorum. She also discusses religious writings by Protestant martyr Anne Askew and Elizabeth Cary’s history of Edward II. Kennedy considers as well defenses of women’s nature authored by women (Rachel Speght and Aemilia Lanyer) or published under female pseudonyms (“Jane Anger,” “Ester Sowernam,” and “Constantia Munda”).

Kennedy demonstrates the importance of class and race as factors affecting anger’s legitimacy and its forms of expression. She shows how early modern assumptions about women’s anger can help to create or exaggerate other differences among women. Her close scrutiny of anger against female inferiority emphasizes the crucial role of emotions in the construction of self-worth and identity.

Illinois State Historical Society Certificate of Excellence 2016

During the predawn hours of December 9, 2008, an FBI team swarmed the home of Illinois governor Rod Blagojevich and took him away in handcuffs. The shocking arrest, based on allegations of corruption and extortion, launched a chain of political events never before seen in Illinois. In A Just Cause, Bernard H. Sieracki delivers a dynamic firsthand account of this eight-week political crisis, beginning with Blagojevich’s arrest, continuing through his impeachment and trial, and culminating in his conviction and removal from office. Drawing on his own eyewitness observations of the hearings and trial, the comments of interviewees, trial transcripts, and knowledge gained from decades of work with the Illinois legislature, Sieracki tells the compelling story of the first impeachment and removal from office of an Illinois governor, while providing a close look at the people involved.

A Just Cause depicts Blagojevich as a master of political gamesmanship, a circus ringmaster driven by personal ambition and obsessed with private gain. Sieracki examines in depth the governor’s unethical behavior while in office, detailing a litany of partisan and personal hostilities that spanned years. He thoroughly covers the events leading to Blagojevich’s downfall and the reactions of the governor’s cohorts. The author discusses the numerous allegations against Blagojevich, including attempts to “sell” appointments, jobs, and contracts in exchange for financial contributions. Sieracki then exhaustively recounts Blagojevich’s senate trial and the governor’s removal from office.

This engrossing volume is both a richly detailed case study of the American checks-and-balances system and an eyewitness account of unprecedented events. It will appeal to anyone interested in the stunning, true tale of a state upholding the maxim “The welfare of the people is the supreme law.” 

In the first book to critically examine each of the fourteen feature films Sam Peckinpah directed during his career, Michael Bliss stresses the persistent moral and structural elements that permeate Peckinpah’s work.

By examining the films in great detail, Bliss makes clear the moral framework of temptation and redemption with which Peckinpah was concerned while revealing the director’s attention to narrative. Bliss shows that each of Peckinpah’s protagonists is involved with attempting, in the words of Ridethe High Country’s Steve Judd, "to enter my house justified."

The validity of this systematic method is clearly demonstrated in the chapter devoted to The Wild Bunch. Byenumerating the doublings and triplings of action and dialogue found in the film, Bliss underscores its symbolic and structural complexity. Beginning the chapters treating Junior Bonner and The Getaway with analyses of their important title sequences, Bliss shows how these frequently disregarded pieces present in miniature the major moral and narrative concerns of the films. In his chapter on The Osterman Weekend, Bliss makes apparent Peckinpahs awareness of and concern with the self-reflexive nature of filmmaking itself.

Bliss shows that like John Ford, Peckinpah moved from optimism to pessimism. The films of the director’s early period, from The Deadly Companions to Cable Hogue, support the romantic ideals of adventure and camaraderie and affirm a potential for goodness in America. In his second group of films, which begins with Straw Dogs and ends with Bring Me the Head of Alfredo Garcia, both heroes and hope have vanished. It is only in The Osterman Weekend that Peckinpah appears finally to have renewed his capacity for hope, allowing his career to close in a positive way.