Wolfgang Hilbig Seagull Books, 2015 Library of Congress PT2668.I323I2513 2015
The perfect book for paranoid times, “I” introduces us to W, a mere hanger-on in East Berlin’s postmodern underground literary scene. All is not as it appears, though, as W is actually a Stasi informant who reports to the mercurial David Bowie look-alike Major Feuerbach. But are political secrets all that W is seeking in the underground labyrinth of Berlin? In fact, what W really desires are his own lost memories, the self undone by surveillance: his "I."
First published in Germany in 1993 and hailed as an instant classic, “I” is a black comedy about state power and the seductions of surveillance. Its penetrating vision seems especially relevant today in our world of cameras on every train, bus, and corner. This is an engrossing read, available now for the first time in English.
“[Hilbig writes as] Edgar Allan Poe could have written if he had been born in Communist East Germany.”—Los Angeles Review of Books
I Am a Fugitive From a Chain Gang
Edited, with an introduction by John E. O'Connor; Tino T. Balio, Series Editor University of Wisconsin Press, 1981 Library of Congress PN1997.I13 | Dewey Decimal 791.4372
Since its release in 1932, I Am a Fugitive From a Chain Gang had earned a reputation as one of the few Hollywood products that can be associated directly with social change. Film historians attribute the reform of the southern chain gang system to the public outrage generated by this movie, which depicts a true story.
In addition to being an important social document, the film remains a gripping experience for filmgoers today because of its unusual dramatic conception, its hauntingly inconclusive ending, and Paul Muni's performance as the good boy forced to go wrong.
I Am Alaskan
Brian Adams University of Alaska Press, 2013 Library of Congress F910.A63 2013 | Dewey Decimal 979.8
What does an Alaskan look like? When asked to visualize someone from Alaska, the image most people conjure up is one of a face lost in a parka, surrounded by snow. Missing from this image is the vibrant diversity of those who call themselves Alaskans, as well as the true essence of the place. Brian Adams, a rising star in photography, aims to change all this with his captivating new collection, I Am Alaskan.
In this full-color tribute, Adams entices us to reconsider our ideas of this unique and compelling land and its equally individual residents. He captures subjects on urban streets and in rural villages, revealing what daily life in Alaska is really like. The portraits focus on moments both ordinary and extraordinary, serious and playful, while capturing Alaskans at their most natural. Subjects range from Alaska Native villagers to rarely seen portraits of famous Alaskans, including Sarah Palin, Vic Fischer, and Lance Mackey. Through photographs, Adams also explores his own half-Iñupiat, half–American Alaska identity in the process, revealing how he came to define himself and the state in which he lives. Frame by frame, Adams powerfully and honestly shows what it means to be an Alaskan.
Abducted at the age of eleven, Evelyn Amony spent nearly eleven years inside the Lord’s Resistance Army, becoming a forced wife to Joseph Kony and mother to his children. She takes the reader into the inner circles of LRA commanders and reveals unprecedented personal and domestic details about Joseph Kony. Her account unflinchingly conveys the moral difficulties of choosing survival in a situation fraught with violence, threat, and death.
Amony was freed following her capture by the Ugandan military. Despite the trauma she endured with the LRA, Amony joined a Ugandan peace delegation to the LRA, trying to convince Kony to end the war that had lasted more than two decades. She recounts those experiences, as well as the stigma she and her children faced when she returned home as an adult.
This extraordinary testimony shatters stereotypes of war-affected women, revealing the complex ways that Amony navigated life inside the LRA and her current work as a human rights advocate to make a better life for her children and other women affected by war.
Best books for public & secondary school libraries from university presses, American Library Association
What happened to the Sioux after Little Bighorn? In the winter of 1877, many escaped with Sitting Bull to Canada, precipitating an international incident and setting three governments at each other for five years. Resolution came only in 1881 with the demise of the buffalo herds in the Northwest Territories. Faced with starvation, the Sioux returned to the United States.
Relying upon primary source documents in both the United States and Canada, Manzione skillfully illustrates how two countries struggled to control a potentially explosive border situation while steadfastly looking the other way as a valiant culture came to its bitter fate.
“I am my language,” says the poet Gloria Anzaldúa, because language is at the heart of who we are. But what happens when a person has more than one language? Is there an overlay of language on identity, and do we shift identities as we shift languages? More important, what identities do children construct for themselves when they use different languages in particular ways?
In this book, Norma González uses language as a window on the multiple levels of identity construction in children—as well as on the complexities of life in the borderlands—to explore language practices and discourse patterns of Mexican-origin mothers and the language socialization of their children. She shows how the unique discourses that result from the interplay of two cultures shape perceptions of self and community, and how they influence the ways in which children learn and families engage with their children’s schools.
González demonstrates that the physical presence of the border profoundly affects the practices and ideologies of Mexican-origin women and children. She then argues that language and cultural background should be used as a basis for building academic competencies, and she demonstrates why the evocative/emotive dimension of language should play a major part in studies of discourse, language socialization, and language ideology.
Drawing on women’s own narratives of their experiences as both mothers and borderland residents, I Am My Language is firmly rooted in the words of common people in their everyday lives. It combines personal odyssey with cutting-edge ethnographic research, allowing us to hear voices that have been muted in the academic and public policy discussions of “what it means to be Latina/o” and showing us new ways to connect language to complex issues of education, political economy, and social identity.
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences.
Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.
Hilda Satt Polacheck's family emigrated from Poland to Chicago in 1892, bringing their old-world Jewish traditions with them into the Industrial Age. Throughout her career as a writer and activist, Polacheck (1882-1967) never forgot the immigrant neighborhoods, the markets, and the scents and sounds of Chicago's West Side. Here, in charming and colorful prose, she recounts her introduction to American life and the Hull-House community, her friendship with Jane Addams, her marriage, her support of civil rights, woman suffrage, and the Women's International League for Peace and Freedom, and her experiences as a writer for the WPA.
I Can't Remember is an intimate photo essay of four families and their process of coping with Alzheimer's disease -- a process of coming to terms with the practical and emotional consequences of a disease that changes the entire family dynamic. Family members tell their stories of first denying that their loved one cold be suffering from Alzheimer's, then dealing with the changing relationships among family members and the intensifying emotions, as old family troubles are stirred up and new feelings of despair and love appear.
Photographs and personal narratives are woven together to show both the unpleasant and the beautiful sides of the struggle for connection between spouses and across generations. Smoller has a gift for capturing people as they interact, whether it's arguing around the kitchen table or dancing cheek to cheek.
Each family's story is different, but all four families share common pain and frustration. A highway patrolman who has early onset Alzheimer's describes what it is like to have Alzheimer's. His wife tells a parallel story of life together after hearing the diagnosis. A daughter gives the following account of her mother: "I though that it would be helpful if mother spent time in my home in Colorado. Before this visit, I was in denial, convinced that she suffered from depression and not Alzheimer's disease. ... On the plane trip to Colorado, I was brought into the stark, cold reality that Mom had Alzheimer's. She did not know where she was or where she was going. Upon arrival, she did not recognize my home, although she had visited me numerous times in the past. She tried sleeping in the bathtub the first night."
Another daughter relates that she was unaware of the onset of Alzheimer's in her mother, because her mother was such a "wonderful actress." Eventually the memory problems were no longer confined to where things belonged in the kitchen, but extended into driving off at random, driving in circles in a parking lot in the middle of the night or as much as 75 miles away from home.
I Can't Remember gives an intimate glimpse into the hearts and minds of caregivers and patients. Supportive social networks are essential for healthy life. This book provides the impetus caregivers need to develop contacts that can provide support. Smoller offers a glimpse of the frustration and losses faced by those who deal with Alzheimer's, as well as the potential to transcend those losses -- even is only for a time -- through love and hope.
Popular culture often portrays divorced fathers as deadbeats who have little interest in caring for the emotional, physical, and financial needs of their children. In the stereotype-shattering book, “I Didn’t Divorce My Kids!”, Gerhard Amendt presents the long-neglected plight of the divorced father who is plagued by grief and loneliness after being separated from his children. Based on surveys and in-depth interviews of thousands of such dads, Amendt reveals how fathers cope with trying to salvage their own lives while simultaneously maintaining relationships with their children after a painful divorce.
Amendt’s incisive look at divided families also explores the impact that a single-parent household has on children’s well-being, criticizing the American tendency to over-pathologize normal reactions to familial upheaval. Even the most civilized of divorces, Amendt argues, can cause rage, sadness, potential health problems, and behavioral disturbances in otherwise well-adjusted children. The broad spectrum of experiences recounted in “I Didn’t Divorce My Kids!” will be essential reading for anyone interested in, or personally shaped by, the changing face of the modern family.
When it comes to personal collections, we live in exciting times. Individuals are living their lives in ways that are increasingly mediated by digital technologies — digital photos and video footage, music, the social web, e-mail,and other day-to-day interactions. Although this mediation presents many technical challenges for long-term preservation, it also provides unprecedented opportunities for documenting the lives of individuals.
Ten authors — Robert Capra, Adrian Cunningham, Tom Hyry, Leslie Johnston, Christopher (Cal) Lee, Sue McKemmish, Cathy Marshall, Rachel Onuf, Kristina Spurgin, and Susan Thomas — share their expertise on the various aspects of the management of digital information in I, Digital: Personal Collections in the Digital Era.
The volume is divided in three parts:
Part 1 is devoted to conceptual foundations and motivations.
Part 2 focuses on particular types, genres, and forms of personal traces; areas of further study; and new opportunities for appraisal and collection.
Part 3 addresses strategies and practices of professionals who work in memory institutions.
Chapters explore issues,challenges, and opportunities in the management of personal digital collections, focusing primarily on born-digital materials generated and kept by individuals.
Contributions to I, Digital represent the depth in thinking about how cultural institutions can grapple with new forms of documentation, and how individuals manage--and could better manage--digital information that is part of contemporary life.
I Do Wish this Cruel War Was Over collects diaries, letters, and memoirs excerpted from their original publication in the Arkansas Historical Quarterly to offer a first-hand, ground-level view of the war's horrors, its mundane hardships, its pitched battles and languid stretches, even its moments of frivolity. Readers will find varying degrees of commitment and different motivations among soldiers on both sides, along with the perspective of civilians. In many cases, these documents address aspects of the war that would become objects of scholarly and popular fascination only years after their initial appearance: the guerrilla conflict that became the "real war" west of the Mississippi; the "hard war" waged against civilians long before William Tecumseh Sherman set foot in Georgia; the work of women in maintaining households in the absence of men; and the complexities of emancipation, which saw African Americans winning freedom and sometimes losing it all over again. Altogether, these first-person accounts provide an immediacy and a visceral understanding of what it meant to survive the Civil War in Arkansas.
When Viviana Salguero came to the United States in 1946, she spoke very little English, had never learned to read or write, and had no job skills besides housework or field labor. She worked eighteen-hour days and lived outdoors as often as not. And yet she raised twelve children, shielding them from her abusive husband when she dared, and shared in both the tragedies and accomplishments of her family. Through it all, Viviana never lost her love for Mexico or her gratitude to the United States for what would eventually become a better life. Though her story is unique, Viviana Salguero could be the mother, grandmother, or great-grandmother of immigrants anywhere, struggling with barriers of gender, education, language, and poverty.
In I Don't Cry, But I Remember, Joyce Lackie shares with us an intimate portrait of Viviana's life. Based on hours of recorded conversations, Lackie skillfully translates the interviews into an engaging, revealing narrative that details the migrant experience from a woman's point of view and fills a gap in our history by examining the role of women of color in the American Southwest. The book presents Vivana's life not only as a chronicle of endurance, but as a tale of everyday resistance. What she lacks in social confidence, political strength, and economic stability, she makes up for in dignity, faith, and wisdom.
Like all good oral history, Salguero's accounts and Lackie's analyses contribute to our understanding of the past by exposing the inconsistencies and contradictions in our remembrances. This book will appeal to ethnographers, oral historians, students and scholars of Chicana studies and women's studies, as well as general readers interested in the lives of immigrant women.
"In Albin J. Zak III's highly original study, phonograph records are not just the medium for disseminating songs but musical works unto themselves. Fashioned from a mix of copyright law, recording studios and techniques, the talent of musicians and disc jockeys, the ingenuity and avarice of producers, and the appetites of record buyers, the all-powerful marketplace Zak describes is an unruly zone where music of, by, and for the people is made and anointed."
---Richard Crawford, author of America's Musical Life: A History
"Wrestling clarity from the exuberant chaos of early rock 'n' roll, Albin Zak's I Don't Sound Like Nobody redefines our understanding of the record in the shaping of the post– World War II soundscape. Zak tracks the story which extends from Bing Crosby and Frank Sinatra through Elvis and Buddy Holly to the Beatles and Bob Dylan with excursions into dozens of lesser known, but crucial, players in a game with few established rules. A crucial addition to the bookshelf."
---Craig Werner, author of A Change Is Gonna Come: Music, Race & the Soul of America
"I Don't Sound Like Nobody is a superb account of the transformation of American popular music in the 1950s. Albin Zak insightfully explores what recording actually means in terms of the process of making and consuming music. His discussion of the legal, aesthetic, and industrial ramifications of changes in the recording process over the course of the 1950s will make popular music scholars and record collectors reconsider what they think they know about the period."
---Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records
"Informative, original, and entertaining. Through a narrative that is not only enlightening but also compelling, I Don't Sound Like Nobody probes the sources and mechanisms of change within post-war American popular music, shedding a cultural and historical light on the convergence of musical idioms that created '50s rock and roll."
---Stan Hawkins, author of Settling the Pop Score
"From the birth of the record industry through the legacy of Presley, the development of rock and roll, and the Beatles 'stunning arrival on the world's stage,' Albin Zak takes us on a journey of exceptional scholarship. The breadth of coverage and deep examination of recordings and repertoire reveal the author's reverence and sensitivity to the many dimensions and origins of this complex musical soundscape."
---William Moylan, author of Understanding and Crafting the Mix: The Art of Recording
The 1950s marked a radical transformation in American popular music as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' roll.
The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, "I don't sound like nobody," a year before he made his first commercial record, he unwittingly articulated the era's musical Zeitgeist.
The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, radio personalities, and fans---all of them key players in the decade's musical transformation.
Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody approaches musical and historical issues of the 1950s through the lens of recordings and fashions a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll.
Albin J. Zak III is Professor of Music at the University at Albany, State University of New York. He is the editor of The Velvet Underground Companion and the author of The Poetics of Rock: Cutting Tracks, Making Records, a groundbreaking study of rock music production. Zak is also a record producer, songwriter, singer, and guitarist.
A major figure in American blues and folk music, Big Bill Broonzy (1903–1958) left his Arkansas Delta home after World War I, headed north, and became the leading Chicago bluesman of the 1930s. His success came as he fused traditional rural blues with the electrified sound that was beginning to emerge in Chicago. This, however, was just one step in his remarkable journey: Big Bill was constantly reinventing himself, both in reality and in his retellings of it. Bob Riesman’s groundbreaking biography tells the compelling life story of a lost figure from the annals of music history.
I Feel So Good traces Big Bill’s career from his rise as a nationally prominent blues star, including his historic 1938 appearance at Carnegie Hall, to his influential role in the post-World War II folk revival, when he sang about racial injustice alongside Pete Seeger and Studs Terkel. Riesman’s account brings the reader into the jazz clubs and concert halls of Europe, as Big Bill's overseas tours in the 1950s ignited the British blues-rock explosion of the 1960s. Interviews with Eric Clapton, Pete Townshend, and Ray Davies reveal Broonzy’s profound impact on the British rockers who would follow him and change the course of popular music.
Along the way, Riesman details Big Bill’s complicated and poignant personal saga: he was married three times and became a father at the very end of his life to a child half a world away. He also brings to light Big Bill’s final years, when he first lost his voice, then his life, to cancer, just as his international reputation was reaching its peak. Featuring many rarely seen photos, I Feel So Good will be the definitive account of Big Bill Broonzy’s life and music.
The black prizefighter labored in one of the few trades where an African American man could win renown: boxing. His prowess in the ring asserted an independence and powerful masculinity rare for black men in a white-dominated society, allowing him to be a man--and thus truly free. Louis Moore draws on the life stories of African American fighters active from 1880 to 1915 to explore working-class black manhood. As he details, boxers bought into American ideas about masculinity and free enterprise to prove their equality while using their bodies to become self-made men. The African American middle class, meanwhile, grappled with an expression of public black maleness they saw related to disreputable leisure rather than respectable labor. Moore shows how each fighter conformed to middle class ideas of masculinity based on his own judgment of what culture would accept. Finally, he argues that African American success in the ring shattered the myth of black inferiority despite media and government efforts to defend white privilege.
Lawrence Newman became deaf at the age of five in 1930, and saw his father fight back tears knowing that his son would never hear again. The next time he saw his father cry was in 1978, when Newman received an honorary doctorate from Gallaudet University, his alma mater. Newman was recognized for his achievements as a life-long advocate for deaf education, including receiving California’s Teacher of the Year award in 1968. Perhaps his greatest influence, however, stemmed from his many articles and columns that appeared in various publications, the best of which are featured in I Fill This Small Space: The Writings of a Deaf Activist.
Editor David Kurs has organized Newman’s writings around his passions — deaf education, communication and language, miscellaneous columns and poems on Deaf life, and humorous insights on his activism. His articles excel both as seamless arguments supporting his positions and as windows on the historical conflicts that he fought: against the Least Restrictive Environment in favor of residential deaf schools; for sign language, Total Communication, and bilingual education; and as a deaf teacher addressing parents of deaf children. A gifted writer in all genres, Newman amuses with ease (“On Mini and Midi-Skirts”), and moves readers with his heartfelt verse (“Girl with a Whirligig”). Newman ranges wide in his ability, but he always maintains his focus on equal tights for deaf people, as he demonstrates in his title poem “I Fill This Small Space:”
I fill this small space, this time
Who is to say yours is better
Than mine or mine yours
I Follow in the Dust She Raises is a collection of deeply personal poems born from a life sharply observed. Martin takes readers from the mountains of the West to the shores of Alaska, as she delves into the rippling depth of childhood experiences, tracks the moments that change a life, and settles into the fine grooves of age. Exploring the ties of family and grief, Martin’s unflinching poetry ripples with moments of extraordinary beauty plucked from what seem like ordinary lives.
Isaac Casaubon (1559-1614) was one of Europe’s greatest Protestant scholars during the late Renaissance and was renowned for his expert knowledge of the early history of the church. Today, however, most of Casaubon’s books remain unread, and much of his vast archive remains unexplored. Grafton and Weinberg’s close examination of his papers reveal for the first time that Casaubon’s scholarship was broader and richer than anyone has previously suspected, and they present a Casaubon not found in earlier literature: one who used Jewish materials to illuminate, and at times to transform, scholars’ understanding of of early Christianity; and one who, at the end of his life, worked with a little-known Jewish scholar in order to master parts of the Talmud, which few Christians could study on their own. Most importantly , this book shows that a Christian scholar of the European Renaissance could explore—and develop striking sympathy and affection for—the alien world and worship of the Jews.
I Have Landed
Stephen Jay Gould Harvard University Press, 2011 Library of Congress QH81.G6732 2011 | Dewey Decimal 508
Gould’s final essay collection is based on his remarkable series for Natural History magazine—exactly 300 consecutive essays, with never a month missed, published from 1974 to 2001. Both an intellectually thrilling journey into the nature of scientific discovery and the most personal book he ever published.
I Have Spoken is a collection of American Indian oratory from the 17th to the 20th century, concentrating on speeches focusing around Indian-white relationships, especially treaty-making negotiations. A few letters and other writings are also included.
Here, in their own words, is the Indian's story told with integrity, with drama, with caustic wit, with statesmanship, with poetic impact; a story of proffered friendship, of broken promises, of hope, of disillusionment, of pride, of a whole land and life gone sour.
I Hear a Symphony opens new territory in the study of Motown’s legacy, arguing that the music of Motown was indelibly shaped by the ideals of Detroit’s postwar black middle class; that Motown’s creative personnel participated in an African-American tradition of dialogism in rhythm and blues while developing the famous “Motown Sound.” Throughout the book, Flory focuses on the central importance of “crossover” to the Motown story; first as a key concept in the company’s efforts to reach across American commercial markets, then as a means to extend influence internationally, and finally as a way to expand the brand beyond strictly musical products. Flory’s work reveals the richness of the Motown sound, and equally rich and complex cultural influence Motown still exerts.
Folk music is more than an idealized reminder of a simper past. It reveals a great deal about present-day understandings of community and belonging. It celebrates the shared traditions that define a group or nation. In America, folk music--from African American spirituals to English ballads and protest songs--renders the imagined community more tangible and comprises a critical component of our diverse national heritage.
In "I Hear America Singing," Rachel Donaldson traces the vibrant history of the twentieth-century folk music revival from its origins in the 1930s through its end in the late 1960s. She investigates the relationship between the revival and concepts of nationalism, showing how key figures in the revival--including Pete Seeger , Alan Lomax, Moses Asch, and Ralph Rinzler--used songs to influence the ways in which Americans understood the values, the culture, and the people of their own nation.
As Donaldson chronicles how cultural norms were shaped over the course of the mid-twentieth century, she underscores how various groups within the revival and their views shifted over time. "I Hear America Singing" provides a stirring account of how and why the revivalists sustained their culturally pluralist and politically democratic Americanism over this tumultuous period in American history.
Jean Feraca’s road to self-fulfillment has been as quirky and demanding as the characters in her incredible memoir. A veteran of several decades of public radio broadcasting, Feraca is also a writer and a poet. She is a talk show host beloved for her unique mixture of the humanities, poetry, and journalism, and is the creator of the pioneering international cultural affairs radio program Here on Earth: Radio without Borders.
In this searing memoir, Feraca traces her own emergence. She pulls back the curtain on her private life, revealing unforgettable portraits of the characters in her brawling Italian-American family: Jenny, the grandmother, the devil woman who threw Casey Stengel down an excavation pit; Dolly, the mother, a cross between Long John Silver and the Wife of Bath, who in battling mental illness becomes the scourge of a Lutheran nursing home; and Stephen, the brilliant but troubled older brother, an anthropologist adopted by a Sioux tribe. In a new chapter that reinforces and ties together the book’s exploration of the multiple forms of love, Jean introduces us to Roger, a Wildman and her husband’s best friend with whom she, too, develops an extraordinary intimacy. A selection of fifteen of Feraca’s poems add counterpoint to her engaging prose.
Imagine that there was a time in America when a child sat next to a radio and simply listened. But didn’t just listen, was enthralled and knew that this time was his alone, that he was part of the vortex of drama unfolding inside the radio’s innards. . . . I never saw a punch thrown, or a glass shatter, or a blood-smeared shirt as I listened to the radio. Nor did I know Barbara Stanwyck’s hairstyle as she overacted in Sorry, Wrong Number on the Lux Radio Theatre. And I had no idea how corpulent Happy Felton was as he dropped ten silver dollars that jangled into a Sheffield’s Milk bottle on Guess Who. (Yes, ten bucks was what you won on that show.) Instead, I imagined it all.
I Hid It under the Sheets captures a bygone era—the late 1930s, 1940s, and early 1950s—through the reminiscences of award-winning New York Times reporter Gerald Eskenazi. This first-person recollection shows radio’s broad impact on his generation and explains how and why it became such a major factor in shaping America and Americans.
For Eskenazi and his peers, radio had virtually no competition from other forms of media, aside from newspapers. Because of this, radio was able to create a common American culture, something that is not found in today’s multifaceted world. Eskenazi shows how the popular programs of the times—from The Lone Ranger to The Fat Man to The Answer Man—helped create a culture of values (telling the truth, being courteous, being courageous, and being a moral person).
Eskenazi’s personal anecdotes about each program are interspersed with interviews of personalities ranging from Tom Brokaw to Colin Powell about their own experiences with radio. Brokaw, who grew up in South Dakota, found radio brought him closer to the world beyond him. Would he have become the newsman he is today without the radio to pique his imagination?
Eskenazi also shows how important radio was to immigrants seeking to become a part of the American experience. Through radio, even he, a Jewish kid from Brooklyn, could grow up feeling connected to the dominant culture of the times. For those who yearn to remember a time gone by, to laugh at childhood memories, or merely to learn about life during a simpler time, this book is for you.
"Both from the Right and from the Left, we are stymied in talking well with one another about race and racism, by intransigent beliefs in our own goodness as well as by our conviction that such talk is useless. . . . White antiracist epistemology needs to begin not with our beliefs, but with our individual and collective awakening to that which we do not know."
Drawing on scholarship across disciplines ranging from writing and rhetoric studies to critical race theory to philosophy, I Hope I Join the Band examines the limits and the possibilities for performative engagement in antiracist activism. Focusing particularly on the challenges posed by raced-white identity to performativity, and moving between narrative and theoretical engagement, thebook names and argues for critical shifts in the understandings and rhetorical practices that attend antiracist activism.
There is one sound that will always be loudest in sports. It isn’t the squeak of sneakers or the crunch of helmets; it isn’t the grunts or even the stadium music. It’s the deafening roar of sports fans. For those few among us on the outside, sports fandom—with its war paint and pennants, its pricey cable TV packages and esoteric stats reeled off like code—looks highly irrational, entertainment gone overboard. But as Erin C. Tarver demonstrates in this book, sports fandom has become extraordinarily important to our psyche, a matter of the very essence of who we are.
Why in the world, Tarver asks, would anyone care about how well a total stranger can throw a ball, or hit one with a bat, or toss one through a hoop? Because such activities and the massive public events that surround them form some of the most meaningful ritual identity practices we have today. They are a primary way we—as individuals and a collective—decide both who we are who we are not. And as such, they are also one of the key ways that various social structures—such as race and gender hierarchies—are sustained, lending a dark side to the joys of being a sports fan. Drawing on everything from philosophy to sociology to sports history, she offers a profound exploration of the significance of sports in contemporary life, showing us just how high the stakes of the game are.
I Love My Selfie
Ilan Stavans Duke University Press, 2017 Library of Congress N7619.S73 2017
What explains our current obsession with selfies? In I Love My Selfie noted cultural critic Ilan Stavans explores the selfie's historical and cultural roots by discussing everything from Greek mythology and Shakespeare to Andy Warhol, James Franco, and Pope Francis. He sees selfies as tools people use to disguise or present themselves as spontaneous and casual. This collaboration includes a portfolio of fifty autoportraits by the artist ADÁL; he and Stavans use them as a way to question the notion of the self and to engage with artists, celebrities, technology, identity, and politics. Provocative and engaging, I Love My Selfie will change the way readers think about this unavoidable phenomenon of twenty-first-century life.
Composed between October 1846 and the spring of 1847, I masnadieri features a libretto based on Schiller's play Die Raüber (The Robbers). The opera premiered in July 1847 at Her Majesty's Theatre, London, with Jenny Lind as the prima donna. Verdi himself supervised the rehearsals for the premiere, and the original performing parts, which contain annotations made by the players under Verdi's direction and changes made by the composer during the rehearsals, have been preserved at the archives of the Royal Opera House.
The critical edition is the first publication of I masnadieri in full score. Based on the composer's autograph and on important secondary sources such as the performing parts mentioned above, this edition provides scholars and performers alike with unequaled means for interpretation and study of one of Verdi's less well known works. The detailed critical commentary discusses problems and ambiguities in the sources, while a wide-ranging introduction to the score traces the opera's genesis, sources, and performance history and practices.
For men in the Union and Confederate armies and their families at home, letter writing was the sole means to communicate. Taking pen to paper was a new and daunting task, but Christopher Hager shows how ordinary people made writing their own, and how they in turn transformed the culture of letters into a popular, democratic mode of communication.
In 2007 a disputed election in Kenya erupted into a two-month political crisis that led to the deaths of more than a thousand people and the displacement of almost seven hundred thousand. Much of the violence fell along ethnic lines, the principal perpetrators of which were the Kalenjin, who lashed out at other communities in the Rift Valley. What makes this episode remarkable compared to many other instances of ethnic violence is that the Kalenjin community is a recent construct: the group has only existed since the mid-twentieth century. Drawing on rich archival research and vivid oral testimony, I Say to You is a timely analysis of the creation, development, political relevance, and popular appeal of the Kalenjin identity as well as its violent potential.
Uncovering the Kalenjin’s roots, Gabrielle Lynch examines the ways in which ethnic groups are socially constructed and renegotiated over time. She demonstrates how historical narratives of collective achievement, migration, injustice, and persecution constantly evolve. As a consequence, ethnic identities help politicians mobilize support and help ordinary people lay claim to space, power, and wealth. This kind of ethnic politics, Lynch reveals, encourages a sense of ethnic difference and competition, which can spiral into violent confrontation and retribution.
Evangelical churches sing hymns written between 1870 and 1920 so often that many children learn them by rote before they are able to read religious texts. A cherished part of communal Christian life and an important and effective way to teach doctrine today, these hymns served an additional social purpose in the late nineteenth and early twentieth centuries: they gave evangelical women a voice in their churches.
When the sacred music business expanded after the Civil War, writing hymn texts gave publishing opportunities to women who were forbidden to preach, teach, or pray aloud in mixed groups. Authorized by oral expression, gospel hymns allowed women to articulate alternative spiritual models within churches that highly valued orality.
These feminized hymns are the focus of "I Sing for I Cannot Be Silent." Drawing upon her own experience as a Baptist, June Hadden Hobbs argues that the evangelical tradition is an oral tradition--it is not anti-intellectual but antiprint. Evangelicals rely on memory and spontaneous oral improvisation; hymns serve to aid memory and permit interaction between oral and written language.
By comparing male and female hymnists' use of rhetorical forms, Hobbs shows how women utilized the only oral communication allowed to them in public worship. Gospel hymns permitted women to use a complex system of images already associated with women and domesticity. This feminized hymnody challenged the androcentric value system of evangelical Christianity by making visible the contrasting masculine and feminine versions of Christianity. When these hymns were sung in church, women's voices and opinions moved out of the private sphere and into public religion. The hymns are so powerful that they are suppressed by some contemporary fundamentalists today.
In "I Sing for I Cannot Be Silent" June Hadden Hobbs employs an interdisciplinary mix of feminist literary analysis, social history, rhetoric and composition theory, hymnology, autobiography, and theology to examine hymns central to worship in most evangelical churches today.
In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today.
Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio’s formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience.
From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.
I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery.
Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease.
I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.
On June 4, 1923, the Bolivian military turned a machine gun on striking miners in the northern Potosí town of Uncía. The incident is remembered as Bolivia’s first massacre of industrial workers. The violence in Uncía highlights a formative period in the development of a working class who would eventually challenge the oligarchic control of the nation.
Robert L. Smale begins his study as Bolivia’s mining industry transitioned from silver to tin; specifically focusing on the region of Oruro and northern Potosí. The miners were part of a heterogeneous urban class alongside artisans, small merchants, and other laborers. Artisan mutual aid societies provided miners their first organizational models and the guidance to emancipate themselves from the mine owners’ political tutelage. During the 1910s both the Workers’ Labor Federation and the Socialist Party appeared in Oruro to spur more aggressive political action. In 1920 miners won a comprehensive contract that exceeded labor legislation debated in Congress in the years that followed. Relations between the working class and the government deteriorated soon after, leading to the 1923 massacre in Uncía. Smale ends his study with the onset of the Great Depression and premonitions of war with Paraguay—twin cataclysms that would discredit the old oligarchic order and open new horizons to the labor movement.
This period’s developments marked the entry of workers and other marginalized groups into Bolivian politics and the acquisition of new freedoms and basic rights. These events prefigure the rise of Evo Morales—a union activist born in Oruro—in the early twenty-first century.
This all-new collection by former Alaska poet laureate smoothly blends his life in Maine, his years in Alaska, and his love of Chinese poetry—which has been a key influence on his work—into a lyrical fantasy that will enchant lovers of verse. These tightly rhythmic, compact eight-line poems demonstrate a rare deftness with—and an even more uncommon ear for—language, revealing poetic form to be neither a puzzle nor an accomplishment in itself, but a compositional tool and a spur to creativity.
I Think I Am: Philip K. Dick
Laurence A. Rickels University of Minnesota Press, 2010 Library of Congress PS3554.I3Z854 2010 | Dewey Decimal 813.54
For years, noted writer Laurence A. Rickels often found himself compared to novelist Philip K. Dick—though in fact Rickels had never read any of the science fiction writer’s work. When he finally read his first Philip K. Dick novel, while researching for his recent book The Devil Notebooks, it prompted a prolonged immersion in Dick’s writing as well as a recognition of Rickels’s own long-documented intellectual pursuits. The result of this engagement is I Think I Am: Philip K. Dick, a profound thought experiment that charts the wide relevance of the pulp sci-fi author and paranoid visionary.
I Think I Am: Philip K. Dick explores the science fiction author’s meditations on psychic reality and psychosis, Christian mysticism, Eastern religion, and modern spiritualism. Covering all of Dick’s science fiction, Rickels corrects the lack of scholarly interest in the legendary Californian author and, ultimately, makes a compelling case for the philosophical and psychoanalytic significance of Philip K. Dick’s popular and influential science fiction.
I Thought of Daisy
Edmund Wilson University of Iowa Press, 2001 Library of Congress PS3545.I6245I12 2001 | Dewey Decimal 813.52
Originally published in 1929, I Thought of Daisy is the first of three novels by Edmund Wilson. Written while he was still balancing his ambitions as a novelist against a successful career in literary criticism, I Thought of Daisy marries Wilson's two vocations to create an unusual and revealing work of fiction.
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others.
With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens.
From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.”
Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
I Ulu I Ka 'Aina: Land
edited by Jonathan Osorio University of Hawaii Press, 2014 Library of Congress DU624.5.I185 2014 | Dewey Decimal 333.3
The Hawaiʻinuiākea Monograph Series presents volume II,”I Ulu i ka Āina,” ten essays that describe the fundamental relationships between Kanaka Maoli and the land. From the memories of long-time activists, cultural practitioners and seasoned administrators to the inspirational insights of young scholar/advocates for our cultural, economic and political progress, each piece evidences the inseparability of the Kanaka from the ʻĀina. It is that inseparability and not our numbers, our relative poverty, nor even our political status that will determine the destiny of the Hawaiian nation. We grow the land, we grow ourselves.
Composer of more than 100 jazz pieces, three-time Grammy nominee, and performer on more than 125 albums, Jimmy Heath has earned a place of honor in the history of jazz. Over his long career, Heath knew many jazz giants such as Charlie Parker and played with other innovators including John Coltrane, Miles Davis, and especially Dizzy Gillespie. Heath also won their respect and friendship.
In this extraordinary autobiography, the legendary Heath creates a “dialogue” with musicians and family members. As in jazz, where improvisation by one performer prompts another to riff on the same theme, I Walked with Giants juxtaposes Heath’s account of his life and career with recollections from jazz giants about life on the road and making music on the world’s stages. His memories of playing with his equally legendary brothers Percy and Albert (aka “Tootie”) dovetail with their recollections.
Heath reminisces about a South Philadelphia home filled with music and a close-knit family that hosted musicians performing in the city’s then thriving jazz scene. Milt Jackson recalls, “I went to their house for dinner…Jimmy’s father put Charlie Parker records on and told everybody that we had to be quiet till dinner because he had Bird on…. When I [went] to Philly, I’d always go to their house.” Today Heath performs, composes, and works as a music educator and arranger. By turns funny, poignant, and extremely candid, Heath’s story captures the rhythms of a life in jazz.
As someone who feels the emotional power of rock and who writes about it as an art form, Theodore Gracyk has been praised for launching "plainspoken arguments destined to change the future of rock and roll," (Publishers Weekly). In I Wanna Be Me, his second book about the music he cares so much about, Gracyk grapples with the ways that rock shapes—limits and expands—our notions of who we can be in the world.
Gracyk sees rock as a mass art, open-ended and open to diverse (but not unlimited) interpretations. Recordings reach millions, drawing people together in communities of listeners who respond viscerally to its sound and intellectually to its messages. As an art form that proclaims its emotional authenticity and resistance to convention, rock music constitutes part of the cultural apparatus from which individuals mold personal and political identities. Going to the heart of this relationship between the music's role in its performers' and fans' self-construction, Gracyk probes questions of gender and appropriation. How can a feminist be a Stones fan or a straight man enjoy the Indigo Girls? Does borrowing music that carries a "racial identity" always add up to exploitation, a charge leveled at Paul Simon's Graceland?
Ranging through forty years of rock history and offering a trove of anecdotes and examples, I Wanna Be Me, like Gracyk's earlier book, "should be cherished, and read, by rockers everywhere" (Salon).
"Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved."
---Fred Moten, Duke University
"In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book."
---Barbara Browning, New York University
"This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics."
---Randy Martin, Tisch School of Arts at New York University
I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies.
Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill.
Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Most studies of deindustrialization in the United States emphasize the economic impact of industrial decline; few consider the social, human costs. "I Was Content and Not Content": The Story of Linda Lord and the Closing of Penobscot Poultry is a firsthand account of a plant closure, heavily illustrated through photographs and told through edited oral history interviews. It tells the story of Linda Lord, a veteran of Penobscot Poultry Company in Belfast, Maine, and her experience when the plant—Maine’s last poultry-processing plant— closed its doors in 1988, costing over four hundred people their jobs and bringing an end to a once productive and nationally competitive agribusiness.
Linda Lord’s story could be that of any number of Americans—blue- and white-collar—effected by the rampant and widespread downsizing over the past several decades. She began working at Penobscot straight out of high school and remained with the company for over twenty years. Lord worked in all aspects of poultry processing, primarily in the "blood tunnel," where she finished off the birds that had been missed by the automatic neck-cutting device—a job held by few women. Single and self-supporting, Lord was thirty-nine years old when the plant closed. In part because she was the primary caretaker for her elderly parents, Lord did not want to leave Maine for a better job but did want to stay in the area that had been her home since birth.
The book is comprised of distinct sections representing different perspectives on Lord’s story and the plant’s demise. Cedric N. Chatterley’s gritty black-and-white photographs, reproduced here as duotones, document the final days at the poultry plant and chronicle Lord’s job search, as well as her daily life and community events. Lord’s oral history interviews, interspersed with the photographs, reveal her experiences working in poultry processing and her perspectives on the plant’s closing. Carolyn Chute’s essay reflects on her own struggles as a worker in Maine, and, more generally, on the way workers are perceived in America. Alicia J. Rouverol’s historical essay explores the rise and fall of Maine’s poultry industry and the reasons for its demise. Stephen A. Cole’s epilogue brings the story full circle when he tells of his most recent visit with Linda Lord. Michael Frisch (Portraits in Steel, A Shared Authority) contributes a foreword.
Lord’s story and the story of Penobscot’s closing brings into question the relationship of business to community, reminding us that businesses and communities are in fact integrally linked—or, perhaps more accurately, should be. Her narrative makes plain that plant closings have particular ramifications for women workers, but her experience also points to the way in which all individuals cope with change, hardship, and uncertain times to create possibilities where few exist. Perhaps most important, her story reveals some of the challenges and complexities that most human beings share.
I Will Say Beauty
Carol Frost Northwestern University Press, 2003 Library of Congress PS3556.R596I18 2003 | Dewey Decimal 811.54
The thrilling new collection from the Pushcart Prize-winning poet
"I will say beauty," Carol Frost boldly says in one of her new lyrical poems, beauty being for her and all of us elusive-in and out of nature. The phrase is meant as a cri de coeur, and the poems are arranged to offer a fresh way to look at--and exist within--nature. For Frost, beauty is a far cry from the decorous and social.
Frost sets many of these poems in Florida's Cedar Keys, amidst the nesting areas of birds, cottonmouth snakes, wetlands, and tidal rhythms. The reader undertakes a journey through a tropical summer, where strange scents and sounds are signs of the transient beauties the imagination may possess for a moment. Drawing brilliantly from nature and from art, from the rhythms of life and the furies of emotion, Frost rejects standard responses and dares to ask: how do we perceive the world? When is beauty not enough? Can we imagine Paradise? And, when nature ordains that death must come, and we weaken, how do we die?
While teaching and researching on an indigenous reservation in Costa Rica, Karen Stocker discovered that for Native students who attended the high school outside the reservation, two extreme reactions existed to the predominantly racist high school environment. While some maintained their indigenous identity and did poorly in school, others succeeded academically, but rejected their Indianness and the reservation. Between these two poles lay a whole host of responses. In "I Won't Stay Indian, I'll Keep Studying," Stocker addresses the institutionalized barriers these students faced and explores the interaction between education and identity.
Stocker reveals how overt and hidden curricula taught ethnic, racial, and gendered identities and how the dominant ideology of the town, present in school, conveyed racist messages to students.
"I Won't Stay Indian, I'll Keep Studying" documents how students from the reservation reacted to, coped with, and resisted discrimination. Considering the students' experiences in the context of the Costa Rican educational system as a whole, Stocker discusses policy shifts that might reduce institutionalized discrimination. Her interpretation of the experiences of these students makes a significant contribution to anthropology, Latin American studies, critical race theory, and educational theory.
David W. Zang played junior high school basketball in a drained swimming pool. He wore a rubber suit to bed to make weight for a wrestling meet. He kept a log as an obsessive runner (not a jogger). In short, he soldiered through the life of an ordinary athlete.
Whether pondering his long-unbuilt replica of Connie Mack Stadium or his eye-opening turn as the Baltimore Ravens' mascot, Zang offers tales at turns poignant and hilarious as he engages with the passions that shaped his life. Yet his meditations also probe the tragedy of a modern athletic culture that substitutes hyped spectatorship for participation. As he laments, American society's increasing scorn for taking part in play robs adults of the life-affirming virtues of games that challenge us to accomplish the impossible for the most transcendent of reasons: to see if it can be done.
From teammates named Lop to tracing Joe Paterno's long shadow over Happy Valley, I Wore Babe Ruth's Hat reports from the everyman's Elysium where games and life intersect.
I Would Lie To You If I Could contains interviews with nine eminent contemporary American poets (Natasha Trethewey, Jane Hirshfield, Martín Espada, Stephen Kuusisto, Stephen Sandy, Ed Ochester, Carolyn Forche, Peter Everwine, and Galway Kinnell) and James Wright’s widow Anne. It presents conversations with a vital cross section of poets representing a variety of ages, ethnicities, and social backgrounds.
The poets testify to the demotic nature of poetry as a charged language that speaks uniquely in original voices, yet appeals universally. As individuals with their own transpersonal stories, the poets have emerged onto the national stage from very local places with news that witnesses memorably in social, personal, and political ways. They talk about their poems and development as poets self-effacingly, honestly, and insightfully, describing just how and when they were "hurt into poetry," as well as why they have pursued writing poetry as a career in which, as Robert Frost noted in his poem "Two Tramps in Mud Time," their object has become "to unite [their] avocation and [their] vocation / As [their] two eyes make one in sight."
"The most potent weapon in the hands of the oppressor is the mind of the oppressed." Like all of Steve Biko's writings, those words testify to the passion, courage, and keen insight that made him one of the most powerful figures in South Africa's struggle against apartheid. They also reflect his conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness movement that he helped found.
I Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Students' Organization, to 1972, when he was prohibited from publishing. The collection also includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.
Biko's writings will inspire and educate anyone concerned with issues of racism, postcolonialism, and black nationalism.
Iain M. Banks
Paul Kincaid University of Illinois Press, 2017 Library of Congress PR6052.A485Z69 2017 | Dewey Decimal 823.914
The 1987 publication of Iain M. Banks's Consider Phlebas helped trigger the British renaissance of radical hard science fiction and influenced a generation of New Space Opera masters. The thirteen SF novels that followed inspired an avid fandom and intense intellectual engagement while Banks's mainstream books vaulted him to the top of the Scottish literary scene. Paul Kincaid has written the first study of Iain M. Banks to explore the confluence of his SF and literary techniques and sensibilities. As Kincaid shows, the two powerful aspects of Banks's work flowed into each other, blurring a line that critics too often treat as clear-cut. Banks's gift for black humor and a honed skepticism regarding politics and religion found expression even as he orchestrated the vast, galaxy-spanning vistas in his novels of the Culture. In examining Banks's entire SF oeuvre, Kincaid unlocks the set of ideas Banks drew upon, ideas that spoke to an unusually varied readership that praised him as a visionary and reveled in the distinctive character of his works. Entertaining and broad in scope, Iain M. Banks offers new insights on one of the most admired figures in contemporary science fiction.
Superbly illustrated in both color and black and white, the revised and expanded edition of this celebrated book brings Finlay's career up to date.
"Ian Hamilton Finlay is one of the most diversely and richly talented visual artists living today ... This very handsomely produced book describes and illustrates [his] whole artistic career"—The World of Interiors
"This well-selected and finely printed presentation – much of it in colour – of poems, short stories, and photographs of non-printed materials is by far the fullest, most attractive and most persuasive account given to date of Finlay's many-faceted achievement"—The Times Literary Supplement
"It is good to see as intelligent a book as this being combined with a format which does its subject the honour due to him, but above all, this is a book which sets out to help the reader to understand an artist who requires thoughtful, unbiased contemplation"—Books in Scotland
In this second volume of translations from the Iberian Fathers appear the works of two seventh-century writers. From the first of these, bishop Braulio of Saragossa, a figure in Visigothic literature second only to St. Isidore of Seville, comes an extensive collection of letters. These are variously addressed to Isidore himself, to other ecclesiastics, to Pope Honorius, and to King Receswinth; friends and relatives were the recipients of seven letters of consolation. Braulio's letters are joined by the Life of a near contemporary, St. Emilian, and by a valuable list of the writings of Isidore, under whom Braulio studied. Fructuousus of Braga is represented by two monastic rules. The first of these was composed for Compludo, a foundation made by Fructousus himself; the other rule is a general or common one. Two other writings dealing with monastic practice accompany these rules, together with a letter to King Receswinth.
As rich as the development of the Spanish and Portuguese languages has been in Latin America, no single book has attempted to chart their complex history. Gathering essays by sociohistorical linguists working across the region, Salikoko S. Mufwene does just that in this book. Exploring the many different contact points between Iberian colonialism and indigenous cultures, the contributors identify the crucial parameters of language evolution that have led to today’s state of linguistic diversity in Latin America.
The essays approach language development through an ecological lens, exploring the effects of politics, economics, cultural contact, and natural resources on the indigenization of Spanish and Portuguese in a variety of local settings. They show how languages adapt to new environments, peoples, and practices, and the ramifications of this for the spread of colonial languages, the loss or survival of indigenous ones, and the way hybrid vernaculars get situated in larger political and cultural forces. The result is a sophisticated look at language as a natural phenomenon, one that meets a host of influences with remarkable plasticity.
The vast transformation of the Roman world at the end of antiquity has been a subject of broad scholarly interest for decades, but until now no book has focused specifically on the Iberian Peninsula in the period as seen through an archaeological lens. Given the sparse documentary evidence available, archaeology holds the key to a richer understanding of the developments of the period, and this book addresses a number of issues that arise from analysis of the available material culture, including questions of the process of Christianization and Islamization, continuity and abandonment of Roman urban patterns and forms, the end of villas and the growth of villages, and the adaptation of the population and the elites to the changing political circumstances.
Iberville's Gulf Journals
Pierre Le Moyne d'Iberville, translated by Richebourg Gaillard McWilliams University of Alabama Press, 1991 Library of Congress F372.L538 1981 | Dewey Decimal 976
Europe's expansion into the New World during the 16th, 17th, and 18th centuries was a story of power alignment and cultural transmission as well as dramatic individual effort. Spain had her conquistadores, France her coureurs de bois, and England her sea dogs. Isolated from the authority of home governments, tempted by the abundance of gold, fur, and fish in the New World, these adventurers so vital to national policies of expansion developed their own personal creeds of conquest and colonization. Their individual exploits not only represent a humanistic theme essential in Europe's movement westward but heighten the analyses of cultural institutions of the era. It is within such a multidisciplinary light that one can experience the Gulf Coast adventures of Pierre LeMoyne d'Iberville.
The Arabic philosophical fable Hayy Ibn Yaqzan is a classic of medieval Islamic philosophy. Ibn Tufayl (d. 1185), the Andalusian philosopher, tells of a child raised by a doe on an equatorial island who grows up to discover the truth about the world and his own place in it, unaided—but also unimpeded—by society, language, or tradition. Hayy’s discoveries about God, nature, and man challenge the values of the culture in which the tale was written as well as those of every contemporary society.
Goodman’s commentary places Hayy Ibn Yaqzan in its historical and philosophical context. The volume features a new preface and index, and an updated bibliography.
“One of the most remarkable books of the Middle Ages.”—Times Literary Supplement
“An enchanting and puzzling story. . . . The book transcends all historical and cultural environments to settle upon the questions of human life that perpetually intrigue men.”—Middle EastJournal
“Goodman has done a service to the modern English reader by providing a readable translation of a philosophically significant allegory.”—Philosophy East and West
“Add[s] bright new pieces to an Islamic mosaic whose general shape is already known.”—American Historical Review
Ibsen's Drama was first published in 1979. 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.
"A dramatist for all seasons" Einar Haugen calls Henrik Ibsen in this series of lectures given in honor of the 150th anniversary of the Norwegian playwright's birth. Using a modified version of the communications model developed by linguist Roman Jakobson, Haugen provides a readable, succinct analysis of Ibsen's thinking and dramaturgy. He examines the ways in which Ibsen the author communicated with his nineteenth-century audience and is able, still, to move and inform playgoers today.
Haugen brings to this work a lifetime of familiarity with Ibsen in Norwegian and in translation, and he draws upon his own experience as a theatergoer and as an observer of student and audience reaction to the plays. Ibsen's Drama will bring pleasure and a deeper understanding of the playwright to students and playgoers alike.
Einar Haugen is Victor S. Thomas Professor of Scandinavian and Linguistics, emeritus, at Harvard University. He is author, editor, or translator of many books and articles in linguistics, literature, and immigrant history, notably The Norwegian Language in America (1953), The Scandinavian Languages (1976), and Land of the Free (1978).
It would be difficult to find a more perceptive description of Western man and the world he now inhabits than that provided by Chantal Delsol in Icarus Fallen: The Search for Meaning in an Uncertain World. With style and lucidity, Delsol likens contemporary Western man to the mythical figure Icarus, fallen back to earth after trying to reach the sun, alive but badly shaken and confused. During the twentieth century, Delsol argues, man flew too closely to the sun of utopian ideology. Having been burned, he is now groping for a way to orient himself. But the ideas he once held so dear—inevitable progress, the possibility of limitless social and self-transformation—are no longer believable, and he has, for the most part, long since rejected the religious tradition that might now have provided an anchor.
Delsol's portrait is engrossing. She explains how we have come simultaneously to embrace the "good" but reject the "true"; how we have sacralized rights and democracy; and how we have lost our sense of the tragic and embraced the idea of "zero risk." Already a well-known political thinker in her native France, this is Delsol's first book to appear in English. Icarus Fallen should establish her as one of the most insightful social and cultural writers working on either side of the Atlantic.
"This is simply the best book about the problems of modern man since Christopher Lasch's Culture of Narcissism. It is so crammed with truth and insight that, as someone once said of Chesterton, every line deserves a review." —The American Conservative
"An extensive evaluation of the pitfalls of modern times and the strict limits on human virtues, Icarus Fallen, is strongly recommended reading for students of 20th Century Philosophy, Politics, and History." —Wisconsin Bookwatch
Frozen mammals of the Ice Age, preserved for millennia in the tundra, have been a source of fascination and mystery since their first discovery over two centuries ago. The 1979 find of a frozen, extinct steppe bison in an Alaskan gold mine allowed paleontologist Dale Guthrie to undertake the first scientific excavation of an Ice Age mummy in North America and to test theories about these enigmatic frozen fauna. In this brilliant remaking of the death of a wooly bison over 36,000 years ago, we’re given a glimpse of what life was like during the Pleistocene Epoch. From torn fragments and patches of deep-frozen skin and insights gleaned from studies of Montana bison, African lions, and Iberian cave art, Ice Age Forensics presents the story of the huge carcass Guthrie calls “Blue Babe”—and the excitement surrounding its reconstruction.
Ice Age Hunters of the Rockies explores the many questions that still surround the Pleistocene cultures of 12,000 years ago and the adaptations of these early civilizations to the last great ice age, covering issues such as the time of arrival of the first Americans, adaptation to various environments, and the use by early people of high-altitude sites.
For Lucy Jane Bledsoe, wilderness had always been a source of peace. But during one disastrous solo trip in the wintry High Sierra she came face to face with a crisis: the wilderness no longer felt like home. The Ice Cave recounts Bledsoe’s wilderness journeys as she recovers her connection with the wild and discovers the meanings of fear and grace.
These are Bledsoe’s gripping tales of fending off wolves in Alaska, encountering UFOs in the Colorado Desert, and searching for mountain lions in Berkeley. Her memorable story “The Breath of Seals” takes readers to Antarctica, the wildest continent on earth, where she camped out with geologists, biologists, and astrophysicists. These fresh and deeply personal narratives remind us what it means to be simply one member of one species, trying to find food and shelter—and moments of grace—on our planet.
Be it soft-serve, gelato, frozen custard, Indian kulfi or Israeli glida, some form of cold, sweet ice cream treat can found throughout the world in restaurants and home freezers. Though ice cream was once considered a food for the elite, it has evolved into one of the most successful mass-market products ever developed.
In Ice Cream, food writer Laura B. Weiss takes the reader on a vibrant trip through the history of ice cream from ancient China to modern-day Tokyo in order to tell the lively story of how this delicious indulgence became a global sensation. Weiss tells of donkeys wooed with ice cream cones, Good Humor-loving World War II-era German diplomats, and sundaes with names such as “Over the Top” and “George Washington.” Her account is populated with Chinese emperors, English kings, former slaves, women inventors, shrewd entrepreneurs, Italian immigrant hokey-pokey ice cream vendors, and gourmand American First Ladies. Today American brands dominate the world ice cream market, but vibrant dessert cultures like Italy’s continue to thrive, and new ones, like Japan’s, flourish through unique variations.
Weiss connects this much-loved food with its place in history, making this a book sure to be enjoyed by all who are beckoned by the siren song of the ice cream truck.
Why do quaking aspens grow in prominent clumps rather than randomly scattered across the landscape? Why and how does a rufous hummingbird drop its metabolism to one-hundredth of its normal rate? Why do bull elk grow those enormous antlers? Using his experience as a biologist and ecologist, George Constantz illuminates these remarkable slices of mountain life in plain but engaging language. Whether it sketches conflict or cooperation, surprise or familiarity, each story resolves when interpreted through the theory of evolution by natural selection.
These provocative accounts of birds, insects, rodents, predators, trees, and flowers are sure to stir the reader’s curiosity. Who wouldn’t be intrigued by a rattlesnake’s ability to hunt in total darkness by detecting the infrared radiation emitted by a mouse? Or how white-tailed ptarmigan thrive in their high, treeless alpine environments -- even through the winter? The narratives, often brought home with a counterintuitive twist, invite readers to make new connections and broaden perspectives of a favorite outdoor place.
The long-awaited second volume of the newly revived Ice Floe series, Ice Floe II features new and exciting works of poetry from a vibrant and diverse group of writers from Alaska, Canada, Russia, Sweden, Iceland, and beyond. All work is presented here in both its original language and in English translation. With contributors that include former Alaska poet laureate Tom Sexton, Riina Katajavuori, Yuri Vaella, Gunnar Randversson, and dozens of other established and emerging poets, this wonderful collection of voices from the northern latitudes will be a great read for all lovers of poetry and international literature.
Ice Floe III
Edited by Shannon Gramse and Sarah Kirk University of Alaska Press, 2012 Library of Congress PN6099.I345 2012 | Dewey Decimal 808.81935820913
The third volume of the revived Ice Floe series, Ice Floe III features new and exciting works of poetry by authors from Alaska, Canada, Iceland, the Faroe Islands, Norway, Sweden, Finland, and Russia. All work is presented in both its original language and in English translation. The contributors—Nancy Lord, Tom Sexton, Eira Stenberg, and Riina Katajavuori, among others—include established and emerging poets. This dynamic and vibrant collection of voices from the northern latitudes will be a great read for all poetry enthusiasts and devoted readers of international literature.
Ice Floe: New & Selected Poems
Edited by Shannon Gramse and Sarah Kirk University of Alaska Press, 2010 Library of Congress PN6099.I34 2010 | Dewey Decimal 808.81935820913
Ice Floe, the celebrated and award-winning journal of circumpolar poetry, is here reborn as an annual book series. This first volume features the best of the journal's first seven years, along with evocative new poetry from Alaska, Canada, Iceland, Norway, Sweden, Finland, and Russia. All work is presented in both its original language and in English translation. With contributors including former Alaska poet laureate John Haines, Gunnar Harding, Robert Bly, Lennart Sjögren, and dozens of other established and emerging poets, this wonderful collection of voices from the northern latitudes is a great read for all lovers of poetry and international literature.
The 1972 passage of Title IX, the federal law that prohibits sex discrimination
in education, was a gamechanger for women and girls in athletics. in the forty years since the law was enacted, participation in sports—especially of girls and women—has grown dramatically. With that growth have come challenges. in Ice-n-Go: A Perspective on Sports and Life, Jenny Moshak, celebrated trainer of the legendary lady Vols basketball team and associate athletic director for sports medicine at the university of tennessee, Knoxville, reflects on the role of sports in society and addresses the high stakes and costs of winning in sports today.
<i>Ice-n-Go</i> is a culmination of the breadth of knowledge and unique insight from Moshak’s more than twenty-five years of work in major college sports. in this highly readable new book, she covers social issues, medical concerns, motiva- tional techniques, gender roles and expectations, the impact of sports on our children, and how the body works, heals, and recovers. though she writes on serious subjects in a serious way, Moshak’s tone is always upbeat and positive with surprisingly simple strategies for improving the athletic experience for all, especially kids.
An outstanding athlete herself, she shares lessons learned on her own demanding coast-to-coast bicycle ride across the united states. in sharing her stories, sound advice and fresh ideas, Moshak seeks to do for us what she has always done for the players in her care: to help protect, nurture, and grow the athlete who is in each one of us.
Jenny Moshak is the celebrated trainer of the legendary Lady Vols basketball team and associate athletic director for sports medicine at the university of Tennessee, Knoxville. a frequent speaker at workshops and conferences across the country, Moshak is an adjunct professor in the exercise science department at the university of tennessee. the U.S.A. Olympic Committee cited Moshak for “Outstanding athletic training support” at the United States Olympic Festival.
Now retired from the university of tennessee, Knoxville, Debby Schriver was the first woman to be elected president of the national Orientation directors association. she is the author of In the Footsteps of Champions: The University of Tennessee Lady Volunteers, the First Three Decades.
In Ice, Klaus Dodds provides a wide-ranging exploration of the cultural, natural, and geopolitical history of this most slippery of subjects. Beyond Earth, ice has been found on other planets, moons, and meteors—and scientists even think that ice-rich asteroids played a pivotal role in bringing water to our blue home. But our outlook need not be cosmic to see ice’s importance. Here today and gone tomorrow in many parts of the temperate world, ice is a perennial feature of polar and mountainous regions, where it has long shaped human culture. But as climates change, ice caps and glaciers melt, and waters rise, more than ever this frozen force touches at the core of who we are.
As Dodds reveals, ice has played a prominent role in shaping both the earth’s living communities and its geology. Throughout history, humans have had fun with it, battled over it, struggled with it, and made money from it—and every time we open our refrigerator doors, we’re reminded how ice has transformed our relationship with food. Our connection to ice has been captured in art, literature, movies, and television, as well as made manifest in sport and leisure. In our landscapes and seascapes, too, we find myriad reminders of ice’s chilly power, clues as to how our lakes, mountains, and coastlines have been indelibly shaped by the advance and retreat of ice and snow. Beautifully illustrated throughout, Ice is an informative, thought-provoking guide to a substance both cold and compelling.
More brittle than glass, at times stronger than steel, at other times flowing like molasses, ice covers 10 percent of the earth’s land and 7 percent of its oceans.
Mariana Gosnell here explores the history and uses of ice in all its complexity, grandeur, and significance. From the freezing of Pleasant Lake in New Hampshire to the breakup of a Vermont river at the onset of spring, from the frozen Antarctic landscape that emperor penguins inhabit to the cold, watery route bowhead whales take between Arctic ice floes, Gosnell examines icebergs, icicles, and frostbite; sea ice and permafrost; ice on Mars and in the rings of Saturn; and several new forms of ice developed in labs. Arecord of the scientific surprises, cultural magnitude, and everyday uses of frozen water, Ice is a sparkling illumination of a substance whose ebbs and flows over time have helped form the world we live in.
“Gosnell travels to the ends of the earth, into the clouds and under the frozen sea to conduct her investigations . . . By the time you finish this remarkable book, you’ll never think about freezing and melting in quite the same way.”—New York Times Book Review
“To read Ice is to discover just how astonishing it is and how necessary.”—San FranciscoChronicle
“A bright, curious, omnidirectional tour that will entrance nature readers.”—Booklist
“An encyclopedic work with surprises on every page . . . . Illustrated with images of ice castles, skaters, and bubble-filled frozen sculpture, Gosnell’s book breathes life into the crystals dubbed ‘glorious spangles’ by Henry David Thoreau.”—Discover
Iceland was first published in 1980. 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.
"Iceland, as described by Tomasson, has a fascinating, often contradictory culture," writes Seymour Martin Lipset in his forward to this book, the first sociological account in English of modern Icelandic society and the forces that have shaped it. Richard F. Tomasson argues that Iceland can best be understood as an example of "a new society"—the first such pioneer community to be founded in historical times. To the author the most significant influences upon Icelandic culture and social structure are the continuities that have persisted in this island society for eleven centuries, since its origins as an isolated Viking colony.
Tomasson traces the ways in which Icelandic culture developed out of the medieval pre- Christian society—in its language, relations between the sexes, egalitarianism, and the high frequency of illegitimate births. He also points out areas of contradiction and discontinuity, noting that Iceland has been transformed in the twentieth century by modernization of the society and international influences upon the culture.
Among the topics Tomasson examines are the Icelanders' involvement in their history and national literary tradition; their social, political, and economic life; the high level of literacy; the pervasive tolerance of Icelanders in moral and religious matters; their values; and the use of alcohol. Readers interested in the Scandinavian countries and in the comparative study of societies will find Iceland a useful analysis of a significant and little known national culture.
On September 19, 1991 a couple hiking along an Alpine ridge stumbled upon a frozen, intact corpse melting out of a glacier. He was dubbed "the Iceman," and his discovery—along with the realization that he was actually 5,000 years old—set off a whirlwind of political, scientific, and media activity that made him an overnight sensation. In this remarkable and dramatic book, Brenda Fowler takes readers through the bizarre odyssey that began in the Stone Age and continued for years after the Iceman was unearthed.
Henry Louis "H. L." Mencken was an American journalist, essayist, magazine editor, satirist, acerbic critic of American life and culture, and a student of American English. Mencken, known as the "Sage of Baltimore”, is regarded as one of the most influential American writers and prose stylists of the first half of the 20th century.
“Mencken wrote nearly 250 letters, postcards, and telegrams to Hood. In this bright little volume, Peter Dowell includes slightly more than half of those missives. . . . [His] editing of the letters is in every way admirable, as is his introduction.” – American Spectator
Icon and Devotion offers the first extensive presentation in English of the making and meaning of Russian icons. The craft of icon-making is set into the context of forms of worship that emerged in the Russian Orthodox Church in the mid-seventeenth century. Oleg Tarasov shows how icons have held a special place in Russian consciousness because they represented idealized images of Holy Russia. He also looks closely at how and why icons were made. Wonder-working saints and the leaders of such religious schisms as the Old Believers appear in these pages, which are illustrated with miniature paintings, lithographs and engravings never before published in the English-speaking world.
By tracing the artistic vocabulary, techniques and working methods of icon painters, Tarasov shows how icons have been integral to the history of Russian art, influenced by folk and mainstream currents alike. As well as articulating the specifically Russian piety they invoke, he analyzes the significance of icons in the cultural life of modern Russia in the context of popular prints and poster design.
The Iron Curtain did not exist—at least not as we usually imagine it. Rather than a stark, unbroken line dividing East and West in Cold War Europe, the Iron Curtain was instead made up of distinct landscapes, many in the grip of divergent historical and cultural forces for decades, if not centuries. This book traces a genealogy of one such landscape—the woods between Czechoslovakia and West Germany—to debunk our misconceptions about the iconic partition.
Yuliya Komska transports readers to the western edge of the Bohemian Forest, one of Europe’s oldest borderlands, where in the 1950s civilians set out to shape the so-called prayer wall. A chain of new and repurposed pilgrimage sites, lookout towers, and monuments, the prayer wall placed two long-standing German obsessions, forest and border, at the heart of the century’s most protracted conflict. Komska illustrates how civilians used the prayer wall to engage with and contribute to the new political and religious landscape. In the process, she relates West Germany’s quiet sylvan periphery to the tragic pitch prevalent along the Iron Curtain’s better-known segments.
Steeped in archival research and rooted in nuanced interpretations of wide-ranging cultural artifacts, from vandalized religious images and tourist snapshots to poems and travelogues, The Icon Curtain pushes disciplinary boundaries and opens new perspectives on the study of borders and the Cold War alike.
Icon Of Spring
Sonya Jason University of Pittsburgh Press, 1993 Library of Congress F159.J43J36 1993 | Dewey Decimal 974.885
A realistic but fond memoir of a girlhood lived in a coal camp, or “patch” in southwestern Pennsylvania during the Great Depression of the 1930s, Icon of Spring is also a coming-of-age story. It begins in 1932 when the narrator, the child of Carpatho-Rusyn immigrant parents, is seven years old. Her father is a miner, and work is scarce as the grip of the depression tightens. The jars of canned food on the storeroom shelf are dwindling, and the family fears eviction from their small company-owned house.
Icon of Spring recounts her childhood during the next seven years, as she grows to adolescence in a world that is protective within her family but shares the violence of the coal region. She is witness to accidental death in the mines, the murder of a coal and iron policeman, the muted struggle to unionize, and the itinerant beggars who appear at the back door.
Yet this is far from a grim book, for we see life in the patch through the eyes of the child. Warmed by the closeness she feels toward her parents, especially her mother, and her nine brothers and sisters, she knows the joy of one sister’s wedding and raucous reception, the mysterious Easter ritual of the Eastern Orthodox Liturgy, the fun of attending a medicine show, and the almost incandescent hope placed in the new president, Franklin D. Roosevelt. Her life is peopled by traveling peddlers, the priest of her church, a union organizer, and the town bachelors: Big John, Peg Leg Pete, and Shorty Steve.
Icon of Spring evokes life in a depression coal patch from a female perspective. A splendid memoir of childhood told with accuracy and warmth which is also rich in social history, it will appeal to general readers as well as students.
Most readers think of a written work as producing its meaning through the words it contains. But what is the significance of the detailed and beautiful illuminations on a medieval manuscript? Of the deliberately chosen typefaces in a book of poems by Yeats? Of the design and layout of text in an electronic format? How does the material form of a work shape its understanding in a particular historical moment, in a particular culture?
The material features of texts as physical artifacts--their "bibliographic codes" --have over the last decade excited increasing interest in a variety of disciplines. The Iconic Page in Manuscript, Print, and Digital Culture gathers essays by an extraordinarily distinguished group of scholars to offer the most comprehensive examination of these issues yet, drawing on examples from literature, history, the fine arts, and philosophy.
Fittingly, the volume contains over two dozen illustrations that display the iconic features of the works analyzed--from Alfred the Great's Boethius through medieval manuscripts to the philosophy of C. S. Peirce and the dustjackets on works by F. Scott Fitzgerald and William Styron.
The Iconic Page in Manuscript, Print, and Digital Culture will be groundbreaking reading for scholars in a wide range of fields.
George Bornstein is C. A. Patrides Professor of English, University of Michigan. Theresa Tinkle is Associate Professor of English, University of Michigan.
Bloody, fiery spectacles—the Challenger disaster, 9/11, JFK’s assassination—have given us moments of catastrophe that make it easy to answer the “where were you when” question and shape our ways of seeing what came before and after. Why are these spectacles so packed with meaning?
In The Iconoclastic Imagination, Ned O’Gorman approaches each of these moments as an image of icon-destruction that give us distinct ways to imagine social existence in American life. He argues that the Cold War gave rise to crises in political, aesthetic, and political-aesthetic representations. Locating all of these crises within a “neoliberal imaginary,” O’Gorman explains that since the Kennedy assassination, the most powerful way to see “America” has been in the destruction of representative American symbols or icons. This, in turn, has profound implications for a neoliberal economy, social philosophy, and public policy. Richly interwoven with philosophical, theological, and rhetorical traditions, the book offers a new foundation for a complex and innovative approach to studying Cold War America, political theory, and visual culture.
"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language. . . . The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, Times Literary Supplement
Collected here are poems from Peter Oresick’s previous books, beginning with The Story of Glass (1977), and to them are added 36 new poems called Under the Carpathians. His work—known for working class and Catholic themes—probes labor and social history, post-World War II America, Eastern European identity, Eastern Rite Catholicism, and Russian icons and fine art and especially Pittsburgh-born pop art icon Andy Warhol.
In his new book, art historian O. K. Werckmeister advances a critique of Marxist culture in capitalist society.
Focusing on some of the most celebrated instances of traditional "Western Marxism," Werckmeister shows how such "icons of the Left" have been progressively detached from their political roots in communist activism to the safe distance of utopian or revolutionary speculations. He assesses some recent critiques of "Western Marxism" in popular culture such as Soderbergh's film Kafka, pointing out the historic fallacies that underlie such wholesale repudiations. With this analysis, Werckmeister seeks to clear the ground for a coherent cultural policy of the Left that responds to the continuing crisis of society.
In this first definitive biography of Ida Tarbell, Kathleen Brady has written a readable and widely acclaimed book about one of America’s great journalists.
Ida Tarbell’s generation called her “a muckraker” (the term was Theodore Roosevelt’s, and he didn’t intend it as a compliment), but in our time she would have been known as “an investigative reporter,” with the celebrity of Woodward and Bernstein. By any description, Ida Tarbell was one of the most powerful women of her time in the United States: admired, feared, hated. When her History of the Standard Oil Company was published, first in McClure’s Magazine and then as a book (1904), it shook the Rockefeller interests, caused national outrage, and led the Supreme Court to fragment the giant monopoly.
A journalist of extraordinary intelligence, accuracy, and courage, she was also the author of the influential and popular books on Napoleon and Abraham Lincoln, and her hundreds of articles dealt with public figures such as Louis Pateur and Emile Zola, and contemporary issues such as tariff policy and labor. During her long life, she knew Teddy Roosevelt, Jane Addams, Henry James, Samuel McClure, Lincoln Stephens, Herbert Hoover, and many other prominent Americans. She achieved more than almost any woman of her generation, but she was an antisuffragist, believing that the traditional roles of wife and mother were more important than public life. She ultimately defended the business interests she had once attacked.
To this day, her opposition to women’s rights disturbs some feminists. Kathleen Brady writes of her: “[She did not have] the flinty stuff of which the cutting edge of any revolution is made. . . . Yet she was called to achievement in a day when women were called only to exist. Her triumph was that she succeeded. Her tragedy ws that she was never to know it.”
Written by members of the faculty at the College of the University of Chicago, this book provides a comprehensive account of one of the most significant and successful experiments in the field of education. In 1931, the faculty undertook to determine the essentials of a general education and to devise an integrated system of essential courses that students were required to take. This book discusses that innovative curriculum and method, and includes reading lists and sample examinations. Levine's new Preface discusses the endurance of and excitement surrounding the program created during the Hutchins years.
George Bernard Shaw thought that a Catholic university was a contradiction in terms—"university" represents intellectual freedom and "Catholic" represents dogmatic belief. Scholars, university administrators, and even the Vatican have staked out positions debating Shaw's observation. In this refreshing book, George Dennis O'Brien argues that contradiction arises both from the secular university's limited concept of academic freedom and the church's defective notion of dogma.
Truth is a central concept for both university and church, and O'Brien's book is built on the idea that there are different areas of truth—scientific, artistic, and religious—each with its own proper warrant and "method." In this light, he argues that one can reverse Shaw's comparison and uncover academic dogma and Christian freedom, university "infallibility" and dogmatic "fallibility."
Drawing on theology and the history of philosophy, O'Brien shows how religious truth relates to the work of a Catholic university. He then turns to the current controversies over Pope John Paul II's recent statement, Ex Corde Ecclesiae, which seeks to make Catholic universities conform to the church's official teaching office. O'Brien rejects the conventional "institutional-juridical" model used by the Vatican as improper both to faith and academic freedom. He argues for a "sacramental" model, one that respects the different kinds of "truth"—thus preserving the integrity of both church and university while making their combination in a Catholic university not only possible but desirable. O'Brien concludes with a practical consideration of how the ideal Catholic university might be expressed in the actual life of the contemporary curriculum and extracurriculum.
For anyone concerned about the place of religion in higher education, The Idea of a Catholic University will be essential reading.
With the introduction of the printing press in England in 1476, a struggle over its control--and its potential for interrupting power--was joined. The written word, once the domain of the upper levels of society that controlled politics, economics, and religion, could be seen passing into the hands of anyone throughout the social strata who wished to voice opinions on any topic of interest or importance. How the advent of printing led to the idea of a free press is the story told by David Copeland in this book, which traces a confrontation that began with issues of religion and gradually expanded into the realm of political freedom.
The rise of a free press was, in many ways, a legacy of the Reformation and Enlightenment. Copeland describes a discourse centered on questions of religion--a discussion that the government, with all its religious authority, could not suppress because of the belief that the ability to reason for oneself was God-given. In this account we see how the debate moved from religion to the purely political sphere, and how, through the increased use of the printing press, it was opened to a multiplicity of voices and opinions. Spanning nearly four centuries in Britain and America, Copeland's book reveals how the tension between government control and the right to debate public affairs openly ultimately led to the idea of a free press; in doing so, it documents an intellectual development of unparalleled relevance and importance to the history of journalism.
The Idea of a Writing Laboratory is a book about possibilities, about teaching and learning to write in ways that can transform both teachers and students.
Author Neal Lerner explores higher education’s rich history of writing instruction in classrooms, writing centers and science laboratories. By tracing the roots of writing and science educators’ recognition that the method of the lab––hands-on student activity—is essential to learning, Lerner offers the hope that the idea of a writing laboratory will be fully realized more than a century after both fields began the experiment.
Beginning in the late nineteenth century, writing instructors and science teachers recognized that mass instruction was inadequate for a burgeoning, “non-traditional” student population, and that experimental or laboratory methods could prove to be more effective. Lerner traces the history of writing instruction via laboratory methods and examines its successes and failures through case studies of individual programs and larger reform initatives. Contrasting the University of Minnesota General College Writing Laboratory with the Dartmouth College Writing Clinic, for example, Lerner offers a cautionary tale of the fine line between experimenting with teaching students to write and “curing” the students of the disease of bad writing.
The history of writing within science education also wends its way through Lerner’s engaging work, presenting the pedagogical origins of laboratory methods to offer educators in science in addition to those in writing studies possibilities for long-sought after reform. The Idea of a Writing Laboratory compels readers and writers to “don those white coats and safety glasses and discover what works” and asserts that “teaching writing as an experiment in what is possible, as a way of offering meaning-making opportunities for students no matter the subject matter, is an endeavor worth the struggle.”
The Idea of Absolute Music
Carl Dahlhaus University of Chicago Press, 1989 Library of Congress ML3854.D3413 1989 | Dewey Decimal 781.17
With a characteristically broad and provocative treatment, Dahlhaus examines a single music-aesthetical idea from various historical and philosophical viewpoints.
"Essential reading for anyone interested in the larger intellectual framework in which Romantic music found its place, a framework that to a remarkable degree has continued to shape our image of music."—Robert P. Morgan, Yale University
Carl Dahlhaus (1928-1989) is the author of a highly influential body of works on the foundations of music history and aesthetics.