A SCHOLARLY BOOK REPOSITORY211 have author last names that start with C have author last names that start with C
Contributors: Kevin M. Carragee, Suffolk U; Catherine Corrigall-Brown, U of California, Irvine; Myra Marx Ferree, U of Wisconsin, Madison; Richard Flacks, U of California, Santa Barbara; Adria D. Goodson; Richard Healy and Sandra Hinson, Grassroots Policy Project; David Meyer, U of California, Irvine; Cynthia Peters, Worker Education Program of the Service Employees International Union, Local 2020; Barbara Risman, North Carolina State U; Robert J. S. Ross, Clark U; Leila J. Rupp, U of California, Santa Barbara; Cassie Schwerner, Schott Foundation; Valerie Sperling, Clark U; David A. Snow, U of California, Irvine; Verta Taylor, U of California, Santa Barbara.
David Croteau is formerly associate professor of sociology and anthropology at Virginia Commonwealth University. William Hoynes is professor of sociology and director of media studies at Vassar College. Charlotte Ryan is codirector of the Media Research and Action Project at Boston College. William A. Gamson is professor of sociology at Boston College.
Exploring how DH shapes and is in turn shaped by the classroom
How has the field of digital humanities (DH) changed as it has moved from the corners of academic research into the classroom? And how has our DH praxis evolved through interactions with our students? This timely volume explores how DH is taught and what that reveals about the field of DH. While institutions are formally integrating DH into the curriculum and granting degrees, many instructors are still almost as new to DH as their students. As colleagues continue to ask what digital humanities is, we have the opportunity to answer them in terms of how we teach DH.
The contributors to What We Teach When We Teach DH represent a wide range of disciplines, including literary and cultural studies, history, art history, philosophy, and library science. Their essays are organized around four critical topics at the heart of DH pedagogy: teachers, students, classrooms, and collaborations. This book highlights how DH can transform learning across a vast array of curricular structures, institutions, and education levels, from high schools and small liberal arts colleges to research-intensive institutions and postgraduate professional development programs.
Contributors: Kathi Inman Berens, Portland State U; Jing Chen, Nanjing U; Lauren Coats, Louisiana State U; Scott Cohen, Stonehill College; Laquana Cooke, West Chester U; Rebecca Frost Davis, St. Edward’s U; Catherine DeRose; Quinn Dombrowski, Stanford U; Andrew Famiglietti, West Chester U; Jonathan D. Fitzgerald, Regis College; Emily Gilliland Grover, Notre Dame de Sion High School; Gabriel Hankins, Clemson U; Katherine D. Harris, San José State U; Jacob Heil, Davidson College; Elizabeth Hopwood, Loyola U Chicago; Hannah L. Jacobs, Duke U; Alix Keener, Stanford U; Alison Langmead, U of Pittsburgh; Sheila Liming, Champlain College; Emily McGinn, Princeton U; Nirmala Menon, Indian Institute of Technology; James O’Sullivan, U College Cork; Harvey Quamen, U of Alberta; Lisa Marie Rhody, CUNY Graduate Center; Kyle Roberts, Congregational Library and Archives; W. Russell Robinson, Alabama State U; Chelcie Juliet Rowell, Tufts U; Dibyadyuti Roy, U of Leeds; Asiel Sepúlveda, Simmons U; Andie Silva, York College, CUNY; Victoria Szabo, Duke U; Lik Hang Tsui, City U of Hong Kong; Annette Vee, U of Pittsburgh; Brandon Walsh, U of Virginia; Kalle Westerling, The British Library; Kathryn Wymer, North Carolina Central U; Claudia E. Zapata, UCLA; Benjun Zhu, Peking U.
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A classic work of African American cultural, social, and political thought by a forerunner of the Black Power movement
One of the leading writers of African American intellectual life in the second half of the twentieth century, Harold Cruse first came to international attention in 1967 with the publication of his influential and inflammatory book, The Crisis of the Negro Intellectual. This fiercely opinionated and deeply informed critique of both integrationism and black nationalism established Cruse as a bold new voice on race and resistance in America.
First published in the wake of The Crisis of the Negro Intellectual’s success, Rebellion or Revolution? collects reviews and essays Cruse wrote between 1950 and 1966, examining the relevance of such figures as James Baldwin, Booker T. Washington, Albert Camus, and Josephine Baker, as well as such subjects as Marxism and the African American community, the economics of black nationalism, and the emerging Black Power movement. Rebellion or Revolution? contains a number of significant writings not available elsewhere.Now, with a new foreword by Cedric Johnson, this work finally emerges as both an essential document from a crucial moment in African American history and a road map to the origins and evolution of Cruse’s critical thought, asserting its importance in today’s debates on race in America.
French philosopher Gilles Deleuze is known as a thinker of creation, joyous affirmation, and rhizomatic assemblages. In this short book, Andrew Culp polemically argues that this once-radical canon of joy has lost its resistance to the present. Concepts created to defeat capitalism have been recycled into business mantras that joyously affirm “Power is vertical; potential is horizontal!”
Culp recovers the Deleuze’s forgotten negativity. He unsettles the prevailing interpretation through an underground network of references to conspiracy, cruelty, the terror of the outside, and the shame of being human. Ultimately, he rekindles opposition to what is intolerable about this world.
Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
A field guide to a nonfascist life at the end of the world as we know it
A Guerrilla Guide to Refusal is an unexpected approach to philosophy from a guerrilla-logic point of view. Harnessing critical theory to creatively reimagine counterinsurgency, guerrilla warfare, and interventions beyond the political mainstream, it takes us on a journey through anarchist infowar, queer outlaws, and black insurgency—through a subterranean network of communiques, military documents, contemporary art, political slogans, adversarial blogs, and captive media. In doing so, it provides powerful new insight into contemporary political movements that pose no demands, refuse labels, and offer no solutions.
Written to both inspire and provoke, A Guerrilla Guide to Refusal urges us to think through the refusal to participate in politics as usual. Author Andrew Culp demonstrates how evasion can combatively deny the existing order its power. Focusing on punk cinema, anarchist pamphlets, feminist art projects, hacker manifestos, and guerrilla manuals, he foregrounds invisibility as a novel force of disruption. He draws on concepts of criminality, fugitivity, and anonymity to bring a more nuanced understanding of how power makes things—and people—visible.
The book’s unique format is that of a theoretical manual, comprising freestanding segments instead of blueprints. Poised to reach beyond the academy into activist circles, this potent theory-in-action intervention forces us to reconsider the terrain upon which our struggles against patriarchy, anti-Blackness, capitalism, and the state operate.
The first full-length study of a once revolutionary visual and linguistic medium
Literature has “died” many times—this book tells the story of its death by postcard. Picturing the Postcard looks to this unlikely source to shed light on our collective, modern-day obsession with new media. The postcard, almost unimaginably now, produced at the end of the nineteenth century the same anxieties and hopes that many people think are unique to twenty-first-century social media such as Facebook or Twitter. It promised a newly connected social world accessible to all and threatened the breakdown of authentic social relations and even of language.
Arguing that “new media” is as much a discursive object as a material one, and that it is always in dialogue with the media that came before it, Monica Cure reconstructs the postcard’s history through journals, legal documents, and sources from popular culture, analyzing the postcard’s representation in fiction by well-known writers such as E. M. Forster and Edith Wharton and by more obscure writers like Anne Sedgwick and Herbert Flowerdew. Writers deployed uproar over the new medium of the postcard by Anglo-American cultural critics to mirror anxieties about the changing nature of the literary marketplace, which included the new role of women in public life, the appeal of celebrity and the loss of privacy, an increasing dependence on new technologies, and the rise of mass media. Literature kept open the postcard’s possibilities and in the process reimagined what literature could be.
Offering a nuanced analysis of how publicity was constructed through radio programming, print media, popular song, and film, Currid examines how German citizens developed an emotional investment in the nation and other forms of collectivity that were tied to the sonic experience. Reading in detail popular genres of music—the Schlager (or “hit”), so-called gypsy music, and jazz—he offers a complex view of how they played a part in the creation of German culture.
A National Acoustics contributes to a new understanding of what constitutes the public sphere. In doing so, it illustrates the contradictions between Germany’s social and cultural histories and how the technologies of recording not only were vital to the emergence of a national imaginary but also exposed the fault lines in the contested terrain of mass communication.
Brian Currid is an independent scholar who lives in Berlin.
Visibility matters to activists—to their social and political relevance, their credibility, their influence. But invisibility matters, too, in times of political hostility or internal crisis. Out in Africa is the first to present an intimate look at how Namibian and South African lesbian, gay, bisexual, and transgender (LGBT) organizations have cultivated visibility and invisibility as strategies over time. As such, it reveals the complexities of the LGBT movements in both countries as these organizations make use of Western terminology and notions of identity to gain funding even as they work to counter the perception that they are “un-African.”
Different sociopolitical conditions in Namibia and South Africa affected how activists in each country campaigned for LGBT rights between 1995 and 2006. Focusing on this period, Ashley Currier shows how, in Namibia, LGBT activists struggled against ruling party leaders’ homophobic rhetoric and how, at the same time, black LGBT citizens of South Africa, though enjoying constitutional protections, greater visibility, and heightened activism, nonetheless confronted homophobic violence because of their gender and sexual nonconformity.
As it tells the story of the evolving political landscape in postapartheid Namibia and South Africa, Out in Africa situates these countries’ movements in relation to developments in pan-African LGBT organizing and offers broader insights into visibility as a social movement strategy rather than simply as a static accomplishment or outcome of political organizing.
The Work in the World was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The writing or reading or buying or selling or judging of a written work is always at the same time the act of making a place-or making places. The author creates a special sort of place for his ideas; the reader, for her engagement with the author; the bookseller, for the notion of books as property to be categorized and sold; and so on. In this book, Michael R. Curry develops a geography of this process, a theory of the nature of space and places in written work.
The Work in the World focuses on a paradox at the heart of this project: Although the written work is inextricably bound up in the construction of the places in which it is written, read, published, circulated, and cited, it nonetheless denies the importance of places. As the product of modern modes of knowledge, technology, and intellectual property, written work seems to say instead that only the encompassing universal space of ideas, objects, and commodities matters.
Distinctive for the way it views theories in geography and science as fundamentally embedded in written works, The Work in the World argues eloquently that the philosophical questions raised by theories can only be addressed within the broader context of the work.
Michael R. Curry is associate professor of geography at the University of California, Los Angeles.
The definitive biography of this innovative and influential director
James Whale directed some of the most stylish movies of the 1930s, but he was most successful in a genre he virtually invented. Most famously in Frankenstein, but also in The Invisible Man and The Bride of Frankenstein, Whale created a new type of horror film—sophisticated, tragic, and morbidly humorous.
Whale made grim war dramas, light comedy, adventure, mystery, and even a movie version of the musical Show Boat. However, his career faltered and, being openly gay, he found work increasingly hard to get. He quit his film work just ten years after the triumph of Frankenstein, and died as a result of suicide. James Curtis has written the definitive life of James Whale, taking him from poverty in rural England to the squalor of a German prison camp, to the excitement of London’s West End, and ultimately to Hollywood, where he profoundly influenced several generations of filmmakers.READERS
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