A SCHOLARLY BOOK REPOSITORY536 start with P start with P
A history of epidemic illness and political change, The Politics of Disease Control focuses on epidemics of sleeping sickness (human African trypanosomiasis) around Lake Victoria and Lake Tanganyika in the early twentieth century as well as the colonial public health programs designed to control them. Mari K. Webel prioritizes local histories of populations in the Great Lakes region to put the successes and failures of a widely used colonial public health intervention—the sleeping sickness camp—into dialogue with African strategies to mitigate illness and death in the past.
Webel draws case studies from colonial Burundi, Tanzania, and Uganda to frame her arguments within a zone of vigorous mobility and exchange in eastern Africa, where African states engaged with the Belgian, British, and German empires. Situating sleeping sickness control within African intellectual worlds and political dynamics, The Politics of Disease Control connects responses to sleeping sickness with experiences of historical epidemics such as plague, cholera, and smallpox, demonstrating important continuities before and after colonial incursion. African strategies to mitigate disease, Webel shows, fundamentally shaped colonial disease prevention programs in a crucial moment of political and social change.
The monumental Harvard Encyclopedia of American Ethnic Groups is the most authoritative single source available on the history, culture, and distinctive characteristics of ethnic groups in the United States. The Dimensions of Ethnicity series is designed to make this landmark scholarship available to everyone in a series of handy paperbound student editions. Selections in this series will include outstanding articles that illuminate the social dynamics of a pluralistic nation or masterfully summarize the experience of key groups.
Written by the best-qualified scholars in each field, Dimensions of Ethnicity will reflect the complex interplay between assimilation and pluralism that is a central theme of the American experience.
This anthology of work by three Asian American women playwrights—Wakako Yamauchi, Genny Lim, and Velina Hasu Houston—features pioneering contemporary writers who have made their mark in regional and ethnic theatres throughout the United States. In her introduction, Houston observes that the Asian American woman playwright is compelled "to mine her soul" and express the angst, fear, and rage that oppression has wrought while maintaining her relationship with America as a good citizen.
The plays are rich with cultural and political substance and have a feminist concern about women's spirit, intellect, and lives. They portray Asian and Asian American women who challenge the cultural and sexual stereotypes of the Asian female. Yamauchi's two plays deal with how easily a country can dishonor its citizens. In "12-1-A," a Japanese American family is incarcerated during World War II in an Arizona camp where Yamauchi herself was interned. "The Chairman's Wife" dramatizes the life of Madame Mao Tse Tung through the lens of events at Tien An Men Square in 1989. Lim's "Bitter Cane" is about the exploitation of Chinese laborers who were recruited to work the Hawaiian sugar cane plantations. In "Asa Ga Kimashita" ("Morning Has Broken"), Houston explores a Japanese woman's interracial romance in postwar Japan and the influence of traditional patriarchy on the lives of Japanese women.
These plays will entertain and enlighten, enrage and profoundly move audiences. With honesty, imagination and courage, each grapples with the politics of life.
In the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, Michael Omi, K. Scott Wong, and Linda Trinh Võ.
2019 Julian Minghi Distinguished Book Award winner
Scholars from a number of disciplines have, especially since the advent of the war on terror, developed critical perspectives on a cluster of related topics in contemporary life: militarization, surveillance, policing, biopolitics (the relation between state power and physical bodies), and the like. James A. Tyner, a geographer who has contributed to this literature with several highly regarded books, here turns to the bureaucratic roots of genocide, building on insight from Hannah Arendt, Zygmunt Bauman, and others to better understand the Khmer Rouge and its implications for the broader study of life, death, and power.
The Politics of Lists analyzes thousands of newly available Cambodian documents both as sources of information and as objects worthy of study in and of themselves. How, Tyner asks, is recordkeeping implicated in the creation of political authority? What is the relationship between violence and bureaucracy? How can documents, as an anonymous technology capable of conveying great force, be understood in relation to newer technologies like drones? What does data create and what does it destroy? Through a theoretically informed, empirically grounded study of the Khmer Rouge security apparatus, Tyner shows that lists and telegrams have often proved as deadly as bullet and bombs.
One of the pioneers of design studies and still one of its most distinguished practitioners, Victor Margolin here offers a timely meditation on design and its study at the turn of the millennium and charts new directions for the future development of both fields. Divided into sections on the practice and study of design, the essays in The Politics of the Artificial cover such topics as design history, design research, design as a political tool, sustainable design, and the problems of design's relation to advanced technologies. Margolin also examines the work of key practitioners such as the matrix designer Ken Isaacs. Throughout the book Margolin demonstrates the underlying connections between the many ways of reflecting on and practicing design. He argues for the creation of an international, interdisciplinary field of design research and proposes a new ethical agenda for designers and researchers that encompasses the responsibility to users, the problems of sustainability, and the complicated questions of how to set boundaries for applying advanced technology to solve the problems of human life.
Opinionated and erudite, Victor Margolin's The Politics of the Artificial breaks fresh ground in its call for a new approach to design research and practice. Designers, engineers, architects, anthropologists, sociologists, and historians will all benefit from its insights.
Askew rose to power on a wave of “New South” leadership that hoped to advance the Democratic Party beyond the intransigent torpor of southern politics since the Civil War. He hoped to replace appeals to white supremacy with a vision of a more diverse and inclusive party. Following his election in Florida, other New South leaders such as Georgia’s Jimmy Carter, Arkansas’s Dale Bumpers, and South Carolina’s John C. West all came to power.
Audacious and gifted, Askew was one of six children raised by a single mother in Pensacola. As he worked his way up through the ranks of the state legislature, few in Florida except his constituents knew his name when he challenged Republic incumbent Claude R. Kirk Jr. on a populist platform promising higher corporate taxes. When he won, he inaugurated a series of reforms, including a new 5 percent corporate income tax; lower consumer, property, and school taxes; a review of penal statutes; environmental protections; higher welfare benefits; and workers’ compensation to previously uncovered migrant laborers.
Touting honesty, candor, and transparency, Askew dubbed his administration “government in the sunshine.” Harvey demonstrates that Askew’s success was not in spite of his penchant for bold, sometimes unpopular stances, but rather because his mix of unvarnished candor, sober ethics, and religious faith won the trust of the diverse peoples of his state.
Since its founding in 1898, the Art Commission of the City of New York (ACNY) has served as the city’s aesthetic gatekeeper, evaluating all works of art intended for display on city property. And over the years, the commission’s domain has expanded dramatically to include everything from parks and courthouses to trash cans and sidewalks. In ThePolitics of Urban Beauty, Michele H. Bogart argues that this unprecedented authority has made the commission host to some complex negotiations—involving artists, architects, business leaders, activists, and politicians—about not only the role of art in urban design, but also the shape and meaning of the city and its public spaces.
A former vice president of the ACNY, Bogart tells its story here from an insider’s perspective, tracing the commission’s history from its origins as an outgrowth of progressive reform to its role in New York’s reconstruction after 9/11. Drawing on archival correspondence, drawings, and photographs from commission collections, Bogart presents bracing examples of works—ranging from New Deal murals to Louis Kahn’s unbuilt Memorial to Six Million Jewish Martyrs—that illuminate the ACNY’s subtle yet powerful role in shaping New York’s identity.
The Politics of Urban Beauty is thus a fascinating history of a New York art world that paralleled—and sometimes unpredictably intersected with—the more familiar realm of prominent architects, painters, galleries, and museums. Bogart’s fresh view adds a critical dimension to our understanding of “the city beautiful” and makes an important and lively contribution to the study of art history, urban design, and New York City itself.
Russell E. Train, was chairman emeritus of the World Wildlife Fund, has led a remarkable life in conservation and environmental politics. Though many of his contributions have been unsung, Train was the catalyst for many of the nation's most important positive environmental policies that remain with us today. In the current political climate, where party divisions are so sharp and environmental concerns are so often shunted aside, Train's journey as a life-long Republican and an ardent conservationist is an inspiring story.
Much of the important environmental policy Train helped to devise and implement occurred during two Republican administrations, those of Richard Nixon and Gerald Ford. Train served as undersecretary of Interior early in Nixon's administration before becoming chair of the president's Council on Environmental Quality (1970-1973). He then moved on to many accomplishments as head of the Environmental Protection Agency (EPA) from 1973 until 1978. At the end of the Ford administration, Train left government to become president of World Wildlife Fund (WWF) in the U.S. where he played a key role in developing that institution into the major conservation organization it is today.
Politics, Pollution, and Pandas is a fascinating, behind-the-scenes account of the politics of the environment over much of the last half century, as told by one of its master architects.
exhaustive research that challenges traditional interpretations.
The Ku Klux Klan has wielded considerable power both as
a terrorist group and as a political force. Usually viewed as appearing
in distinct incarnations, the Klans of the 20th century are now shown by
Glenn Feldman to have a greater degree of continuity than has been previously
suspected. Victims of Klan terrorism continued to be aliens, foreigners,
or outsiders in Alabama: the freed slave during Reconstruction, the 1920s
Catholic or Jew, the 1930s labor organizer or Communist, and the returning
black veteran of World War II were all considered a threat to the dominant
white culture.
Feldman offers new insights into this "qualified continuity"
among Klans of different eras, showing that the group remained active during
the 1930s and 1940s when it was presumed dormant, with elements of the
"Reconstruction syndrome" carrying over to the smaller Klan of the civil
rights era.
In addition, Feldman takes a critical look at opposition to
Klan activities by southern elites. He particularly shows how opponents
during the Great Depression and war years saw the Klan as an impediment
to attracting outside capital and federal relief or as a magnet for federal
action that would jeopardize traditional forms of racial and social control.
Other critics voiced concerns about negative national publicity, and others
deplored the violence and terrorism.
This in-depth examination of the Klan
in a single state, which features rare photographs, provides a means of
understanding the order's development throughout the South. Feldman's book
represents definitive research into the history of the Klan and makes a
major contribution to our understanding of both that organization and the
history of Alabama.
From Plato through the nineteenth century, the West could draw on comprehensive political visions to guide government and society. Now, for the first time in more than two thousand years, Tracy B. Strong contends, we have lost our foundational supports. In the words of Hannah Arendt, the state of political thought in the twentieth and twenty-first centuries has left us effectively “thinking without a banister.”
Politics, Writing, Mutilation was first published in 1985. 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.
Five twentieth-century French writers played, and continue to play, a pivotal role in the development of literary-philosophical thinking that has come to be known in the United States as post-structuralism. The work of Georges Bataille, Maurice Blanchot, Raymond Roussel, Michel Leiris, and Francis Ponge in the 1930s and 1940s amounts to a prehistory of today's theoretical debates; the writings of Foucault and Derrida in particular would have been unthinkable outside the context provided by these writers. In Politics, Writing, Mutilation,Allan Stoekl emphasizes their role as precursors, but he also makes clear that they created a distinctive body of work that must be read and evaluated on its own terms.
Stoekl's critical readings of their work—selected novels, poems, and autobiographical fragments—reveal them to be battlegrounds not only of disruptive language practices, but of conflicting political drives as well. These irreconcilable tendencies can be defined as progressive political revolution, on the one hand with its emphasis on utility, conservation, and labor; and, on the other hand, a notion of dangerous and sinister production that stresses orgiastic sexuality and delirious expenditure. Caught between these forces is the intellectual of Bataille's time (and indeed of ours), locked in impotence, self-betrayal, and automutilation.
Stoekl develops his critique through dual readings of each writer's central work—the first reading deconstructive, the second a search for the political meaning excluded by a deconstructive approach. Repeating this process on a larger scale, he shows how Derrida and Foucault are indebted to their precursors even while they have betrayed them by stripping their work of political conflict and historical specificity. And he acknowledges that one of the most painful questions faced in prewar and Occupied France—that of the unthinkable guilt and duplicity of the intellectual—may not be as remote from contemporary theoretical concerns as some would have us believe.
Between the Civil War and World War II, Catholic charities evolved from volunteer and local origins into a centralized and professionally trained workforce that played a prominent role in the development of American welfare. Dorothy Brown and Elizabeth McKeown document the extraordinary efforts of Catholic volunteers to care for Catholic families and resist Protestant and state intrusions at the local level, and they show how these initiatives provided the foundation for the development of the largest private system of social provision in the United States.
It is a story tightly interwoven with local, national, and religious politics that began with the steady influx of poor Catholic immigrants into urban centers. Supported by lay organizations and by sympathetic supporters in city and state politics, religious women operated foundling homes, orphanages, protectories, reformatories, and foster care programs for the children of the Catholic poor in New York City and in urban centers around the country.
When pressure from reform campaigns challenged Catholic child care practices in the first decades of the twentieth century, Catholic charities underwent a significant transformation, coming under central diocesan control and growing increasingly reliant on the services of professional social workers. And as the Depression brought nationwide poverty and an overwhelming need for public solutions, Catholic charities faced a staggering challenge to their traditional claim to stewardship of the poor. In their compelling account, Brown and McKeown add an important dimension to our understanding of the transition from private to state social welfare.
When parole first emerged as a corrections strategy in the nineteenth century, work was supposed to keep ex-prisoners out of trouble. This strategy foundered in the changing economy after World War II. What followed was a rehabilitative strategy, where the clinical expertise of the parole agent replaced the discipline of the industrial labor market in defining and controlling criminal deviance. Today, Simon argues, as drastic changes in the economy have virtually locked out an entire class, rehabilitation has given way to mere management. The effect is isolation of the offender, either in jail or in an underclass community; the result is an escalating cycle of imprisonment, destabilization, and insecurity.
No significant improvement in the current penal crisis can be expected until we better understand the relationship between punishment and social order, a relationship which this book explores in theoretical, historical, and practical detail.
Drawn from presentations at the annual Experience Music Project Pop Conference—hailed by Robert Christgau as “the best thing that’s ever happened to serious consideration of pop music”—the essays in this book include inquiries into the sonic dimension of war in Iraq; the cultural life of jazz in post-Katrina New Orleans; Isaac Hayes’s reappropriation of a country song, “By the Time I Get to Phoenix,” as a symbol of black nationalism; and punk rock pranks played on record execs looking for the next big thing in central Virginia. Offering a diverse range of voices, perspectives, and approaches, this volume mirrors the eclecticism of pop itself.
Contributors: Larry Blumenfeld , Austin Bunn, Nate Chinen, J. Martin Daughtry, Brian Goedde, Michelle Habell-Pallán, Jonathan Lethem, Eric Lott, Kembrew McLeod, Elena Passarello, Diane Pecknold, David Ritz, Carlo Rotella, Scott Seward, Tom Smucker, Greg Tate, Karen Tongson, Alexandra T. Vazquez, Oliver Wang, Eric Weisbard, Carl Wilson
The Vatican’s dealings with the Weimar Republic and the Third Reich have long been swathed in myth and speculation. After almost seventy years, the crucial records for the years leading up to 1939 were finally opened to the public, revealing the bitter conflicts that raged behind the walls of the Holy See. Anti-Semites and philo-Semites, adroit diplomats and dogmatic fundamentalists, influential bishops and powerful cardinals argued passionately over the best way to contend with the intellectual and political currents of the modern age: liberalism, communism, fascism, and National Socialism. Hubert Wolf explains why a philo-Semitic association was dissolved even as anti-Semitism was condemned, how the Vatican concluded a concordat with the Third Reich in 1933, why Hitler’s Mein Kampf was never proscribed by the Church, and what factors surrounded the Pope’s silence on the persecution of the Jews.
In rich detail, Wolf presents astonishing findings from the recently opened Vatican archives—discoveries that clarify the relations between National Socialism and the Vatican. He illuminates the thinking of the popes, cardinals, and bishops who saw themselves in a historic struggle against evil. Never have the inner workings of the Vatican—its most important decisions and actions—been portrayed so fully and vividly.
Popular Culture in America was first published in 1987. 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.
This book collects some of the best work from the journal Cultural Correspondence (1975–83), which editor Paul Buhle calls "the first political journal of culture to assume its readers (and writers) watched television." The twenty-four contributors are part of a new generation of cultural critics and historians who are self-conscious products of the mass culture of the fifties and sixties. Their work attempts to update an elementary democratic principle - that people seek understanding and solutions, real or fanciful, through the mechanisms available to them. Although these writers condemn the manipulative qualities of commercial culture, they just as vehemently reject most of what has passed for Marxist (or liberal or conservative) orthodoxy on popular culture. Americans, they argue, have had a unique opportunity as well as a unique need to make the most of popular culture; the collective cultural experience is our only shared past. The richness and vitality of that culture is the focus of this book.
The thirty-four essays work toward an understanding of American mass culture not through abstraction but by exploring the real pleasures of ordinary people's lives. Pulp literature (utopian and horror themes, sports and nurse novels, and contemporary science fiction); radio thrillers; TV horror movies: television evangelists; sitcoms; music (polka, country-western, blues, jazz, and rock 'n roll); comic strips (Krazy Kat, Dick Tracy, Zippy); women's humor—these and other topics are given sensitive, detailed—sometimes humorous—attention. Paul Buhle's essay, "The 1960s Meet the 1980s," discusses popular culture scholarship, drawing on a wide range of theory—the Frankfort School, art history, literary criticism, and social science approaches. Buhle argues for the importance of this scholarship as a way of understanding "that missed connection between the cultural promise of a richly diverse, democratic society and the reality at hand."
The essays in this generously illustrated collection demonstrate how, after the scientific foundations of the eugenics movement had been weakened in the 1930s, eugenic beliefs spread into the popular media, including newspapers, movies, museum exhibits, plays, and novels, and even fashion shows and comic strips.
Popular Eugenics shows that eugenic thought persisted in science and culture as well as in social policy and goes a long way toward explaining the durability of eugenic thinking and its effects on social policy in the United States. Popular Eugenics will be of interest to scholars and students in a broad range of disciplines, especially American literature and history, popular culture, media studies, and the history of science.
The story of Paris in the 1930s seems straightforward enough, with the Popular Front movement leading toward the inspiring 1936 election of a leftist coalition government. The socialist victory, which resulted in fundamental improvements in the lives of workers, was then derailed in a precipitous descent that culminated in France's capitulation before the Nazis in June 1940. Yet no matter how minutely recounted, this "straight story" clarifies only the political activity behind which turbulent cultural currents brought about far-reaching changes in everyday life and the way it is represented.
In this book, Dudley Andrew and Steven Ungar apply an evocative "poetics of culture" to capture the complex atmospherics of Paris in the 1930s. They highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film—technologies that converged with efforts among writers (Gide, Malraux, Céline), artists (Renoir, Dalí), and other intellectuals (Mounier, de Rougemont, Leiris) to respond to the decade's crises.
Their analysis takes them to expositions and music halls, to upscale architecture and fashion sites, to traditional neighborhoods, and to overseas territories, the latter portrayed in metropolitan exhibits and colonial cinema. Rather than a straight story of the Popular Front, they have produced something closer to the format of an illustrated newspaper whose multiple columns represent the breadth of urban life during this critical decade at the end of the Third French Republic.
With a new preface Bill V. Mullen updates his dynamic reappraisal of a critical moment in American cultural history. Mullen's study includes reassessments of the politics of Richard Wright's critical reputation and a provocative reading of class struggle in Gwendolyn Brooks' A Street in Bronzeville. He also takes an in-depth look at the institutions that comprised Chicago's black popular front: the Chicago Defender, the period's leading black newspaper; Negro Story, the first magazine devoted to publishing short stories by and about African Americans; and the WPA-sponsored South Side Community Art Center.
Pfitzer begins by exploring how the emergence of a new literary marketplace in the mid-nineteenth century affected the study of history in America. Publishers of popular works hoped to benefit from economies of scale by selling large numbers of inexpensive books at small profit. They hired authors with substantial literary reputations to make the past accessible to middle-class readers. The ability to write effectively for wide audiences was the only qualification for those who dominated this field. Privileging narration and effusive literary style over dispassionate prose, these artists adapted their favorite fictional and poetic conventions with an ease that suggests the degree to which history was viewed as literary art in the nineteenth century.
Beginning as a small cottage industry, popular histories sold in the hundreds of thousands by the 1890s. In an effort to illuminate the cultural conditions for this boom, Pfitzer focuses on the business of book making and book promotion. He analyzes the subscription sales techniques of book agents as well as the aggressive prepublication advertising campaigns of the publishers, including the pictorial embellishments they employed as marketing devices.
He also examines the reactions of professional historians who rejected the fictionalizing and poetic tendencies of popular history, which they equated with loose and undisciplined scholarship. Pfitzer explains how and why these professionals succeeded in challenging the authority of popular histories, and what the subsequent "unpopularity of popular history" meant for book culture and the study of history in the twentieth century.
Rather than viewing the cristeros (supporters of the Church) as victims of false consciousness or as religious fanatics, as others have done, Purnell shows that their motivations—as well as the motivations of the agraristas (supporters of the revolutionary state)—stem from local political conflicts that began decades, and sometimes centuries, before the Revolution. Drawing on rich but underutilized correspondence between peasants and state officials written over the course of the nineteenth and twentieth centuries, Purnell shows how these conflicts shaped the relationships between property rights, religious practice, and political authority in the center-west region of Mexico and provides a nuanced understanding of the stakes and interests involved in subsequent conflicts over Mexican anticlericalism and agrarian reform in the 1920s.
The book contains hundreds of stories of the heroic and highly innovative methods of resistance employed by the Palestinians over more than 100 years. The author also analyses the successes, failures, missed opportunities and challenges facing ordinary Palestinians as they struggle for freedom against incredible odds. This is the only book to critically and comparatively study the uprisings of 1920-21, 1929, 1936-9, 1970s, 1987-1991 and 2000-2006.
The compelling human stories told in this book will inspire people of all faiths and political backgrounds to chart a better and more informed direction for a future of peace with justice.
Popular Stories and Promised Lands enters a conversation about who we are, where we’ve been, and where we might be going by suggesting that possible answers to those questions can be found in the popular stories we encounter at the movies, on television, in popular magazines, and even on the funny pages.
As countless scholars and popular writers have noted, those of us living in the United States find ourselves at a cultural crossroads. We are increasingly aware that the stories that once permeated life in these United States, stories that tell us that social and economic progress comes from working hard, that everyone has an equal opportunity to experience such progress, do not resonate to the degree they once did. Because many Americans have traditionally defined themselves, others, and their unique sense of place through these stories, we find ourselves displaced socially, economically, politically, and/or culturally.
So, Roger Aden says, we go to places of our own making. Fans of the television series The X-Files return to the Funhouse each week for a dose of frightening fun. Fans of the weekly magazine Sports Illustrated play in the American Elysian Fields where democratic efforts at balancing work and play are valued. Fans of the movie Field of Dreams work as altruistic producers in an alternative garden spot.
Grounded in the author’s own experiences and reinforced by the voices of approximately two hundred additional fans of the four popular stories, this book offers a compelling case for understanding the alleged wasteland of popular culture as a fertile site of individually and communally created sacred places.
Based on ethnographic and archival research, Marino focuses on performances of the devil figure, tracing this beloved trickster through religious fiestas, mid-century theater and film, and other media as it both antagonizes and unifies a movement against dictatorship and neoliberalism. She then demonstrates that performance became a vehicle through which cultural producers negotiated boundaries of inclusion and exclusion in ways that overcame the simplistic logic of good versus evil, us versus them. The result is a nuanced insight into the process of building political mobilization out of crisis and through monumental times of change.
The book will interest readers of Latin American politics, cultural studies, political science, and performance studies by providing a vital record of the revolution, with valuable insights into its internal dynamics and lessons towards building a populist movement of the left in contentious times.
This volume brings together twelve original essays that explore the concept of populism in twentieth century Mexico. Contributors analyze the presidencies of two of the century’s most clearly populist figures, evaluating them against each other and in light of other Latin American and Mexican populist leaders. In order to examine both positive and negative effects of populist political styles, contributors also show how groups as diverse as wild yam pickers in 1970s Oaxaca and intellectuals in 1930s Mexico City had access to and affected government projects.
The chapters on the Echeverría presidency are written by contributors at the forefront of emerging scholarship on this topic and demonstrate new approaches to this critical period in Mexican history. Through comparisons to Echeverría, contributors also shed new light on the Cárdenas presidency, suggesting fresh areas of investigation into the work of Mexico’s quintessentially populist leader. Ranging in approach from environmental history to labor history, the essays in this volume present a complex picture of twentieth century populism in Mexico.
Is Latin America experiencing a resurgence of leftwing governments, or are we seeing a rebirth of national-radical populism? Are the governments of Hugo Chávez, Evo Morales, and Rafael Correa becoming institutionalized as these leaders claim novel models of participatory and direct democracy? Or are they reenacting older traditions that have favored plebiscitary acclamation and clientelist distribution of resources to loyal followers? Are we seeing authentic forms of expression of the popular will by leaders who have empowered those previously disenfranchised? Or are these governments as charismatic, authoritarian, and messianic as their populist predecessors?
This new and expanded edition of Populist Seduction in Latin America explores the ambiguous relationships between democracy and populism and brings de la Torre’s earlier work up to date, comparing classical nationalist, populist regimes of the 1940s, such as those of Juan Perón and José María Velasco Ibarra, with their contemporary neoliberal and radical successors. De la Torre explores their similarities and differences, focusing on their discourses and uses of political symbols and myths.
earlier work up to date, comparing classical nationalist, populist regimes of the 1940s, such as those of Juan Perón and José María Velasco Ibarra, with their contemporary neoliberal and radical successors. De la Torre explores their similarities and differences, focusing on their discourses and uses of political symbols and myths.
This volume places pornography at the heart of the 1970s American experience, exploring lesser-known forms of pornography from the decade, such as a new, vibrant gay porn genre; transsexual/female impersonator magazines; and pornography for new users, including women and conservative Christians. The collection also explores the rise of a culture of porn film auteurs and stars as well as the transition from film to video. As the corpus of adult ephemera of the 1970s disintegrates, much of it never to be professionally restored and archived, these essays seek to document what pornography meant to its producers and consumers at a pivotal moment.
In addition to the volume editors, contributors include Peter Alilunas, Gillian Frank, Elizabeth Fraterrigo, Lucas Hilderbrand, Nancy Semin Lingo, Laura Helen Marks, Nicholas Matte, Jennifer Christine Nash, Joe Rubin, Alex Warner, Leigh Ann Wheeler, and Greg Youmans.
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century.
Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez “ERRE.” Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
William “Bill” Sumio Naito (1925–1996) was a remarkable and visionary individual—the Portland-born son of Japanese immigrants who became one of the city’s most significant business and civic leaders. Every day thousands of people drive on Naito Parkway alongside Portland’s Waterfront Park, yet little has been written about the man for whom it was named.
In this first biography, Erica Naito-Campbell, Bill’s granddaughter, shows how his story is also the story of Portland, the city he loved. Naito’s life, from the Great Depression and World War II through Portland’s rebirth in the 1970s and its profound growth, tracked most of the major events in the city and was the catalyst for many of them. Through hard-earned success in importing and real estate with his brother Sam, Naito came to wield considerable power in the city, and his leadership led to much of what we consider iconic Portland today: the “Portland Oregon” sign near the Burnside Bridge, the annual Christmas tree in Pioneer Courthouse Square, and Harbor Drive’s conversion to Waterfront Park.
Naito’s name became synonymous with civic leadership, whether it was growing Portland’s urban tree canopy, revitalizing its downtown, or preserving historic buildings. But less is known about his difficult childhood—with a father who worked twelve-hour days and a mother whose treatment of him was harsh at best—and the racism he endured during World War II. After the expulsion of Japanese Americans following Pearl Harbor and his military service in Occupied Japan, Naito overcame great emotional turmoil to return to Portland and become one of its greatest change-makers.
Erica Naito-Campbell uses anecdotes, rich details, and previously unknown stories about Bill Naito to bring Portland’s history to life—while acknowledging that the cost of his success was a family rife with resentments and envy. Her book reveals the emotional wounds that drove Naito to become one of Portland’s most inspiring civic leaders, a pivotal player in the city’s journey from a moribund downtown to a national model for livability, urban renewal, and historic preservation.
Herzfeld explores how personal vision intersects with national cultures by examining the Greek author's novels and recollections as historical accounts. Bringing together the methods of the novelist and the anthropologist in their common concern with both social and lived experience, Herzfeld shows how different perspectives shape the historical record. Nenedakis has endured persecution, exile, imprisonment, and torture under Greece's military dictatorship, and his novels—excerpted here in English for the first time—offer an individual version of historical events. As one of his characters ask, "For was not his life, and are not the lives of all of us, a novel?"
"Portrait of a Marriage is as close to a cry from the heart as anybody writing in English in our time has come, and it is a cry that, once heard, is not likely ever to be forgotten. . . . Unexpected and astonishing."—Brendan Gill, New Yorker
"The charm of this book lies in the elegance of its narration, the taste with which their son has managed to convey the real, enduring quality of his parents' love for each other."—Doris Grumbach, New Republic
Highlights include an affectionate treatment of Leo Szilard, the physicist whose involvement with the development of the atomic bomb led him to work ceaselessly to address its social consequences; a discussion of the educational philosophy of Robert Maynard Hutchins, the University of Chicago's fifth and most controversial president; an appreciative account of the Polish emigré Leopold Labedz's well-informed and outspoken resistance to Communism; and an essay about the extraordinary Indian writer Nirad Chaudhuri.
Many of these essays have appeared in The American Scholar, edited by Joseph Epstein, who introduces this volume with his own portrait of Edward Shils.
"Though professionally a sociologist, Edward Shils was a man of wide cosmopolitan culture and experience, greatly concerned with the public problems of his time: in particular with those created by the rise of new and dangerous ideologies, the frightening possibilities of science, and the apparent abrogation of public responsibility by many Western intellectuals."—Hugh Trevor-Roper
The late Edward Shils was a member of the University of Chicago's Committee on Social Thought for forty-five years and a fellow of Peterhouse, Cambridge University. His many books include The Calling of Sociology and The Intellectuals and the Powers, both published by the University of Chicago Press.
Photography offered an inexpensive and readily available technology for producing portraits and other images that allowed lower- and middle-class racialized subjects to create their own distinct rhetoric and vision of their culture. The powerful identity-marking vehicle that photography provided to the masses has been overlooked in much of Latin American cultural studies—which have focused primarily on the elite’s visual arts. Coronado's study offers close readings of Andean photographic archives from the early- to mid-twentieth century, to show the development of a consumer culture and the agency of marginalized groups in creating a visual document of their personal interpretations of modernity.
Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes.
Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding panoramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war.
Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contributors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.
In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.
At once a Technicolor wonderland and the embodiment of American mythology, Las Vegas exists at the Ground Zero of a reverence for risk-taking and the transformative power of a winning hand. Jake Johnson edits a collection of short essays and flash ideas that probes how music-making and soundscapes shape the City of Second Chances. Treating topics ranging from Cher to Cirque de Soleil, the contributors delve into how music and musicians factored in the early development of Vegas’s image; the role of local communities of musicians and Strip mainstays in sustaining tensions between belief and disbelief; the ways aging showroom stars provide a sense of timelessness that inoculates visitors against the outside world; the link connecting fantasies of sexual prowess and democracy with the musical values of Liberace and others; considerations of how musicians and establishments gambled with identity and opened the door for audience members to explore Sin City–only versions of themselves; and the echoes and energy generated by the idea of Las Vegas as it travels across the country.
Contributors: Celine Ayala, Kirstin Bews, Laura Dallman, Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham, Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler, Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M. Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and Brian F. Wright
This correspondence in this volume expands on the insights of Borowski’s published work and extends to the less-documented aftermath of the Holocaust in postwar Poland and East Germany. The volume opens with Borowski’s letter to his mother from Pawiak Prison the day after his arrest and closes with an unsigned telegram informing his parents of his suicide. The letters to and from family members, friends, and literary figures offer an indispensable picture of the world in the wake of the Nazis—and of the indelible stain that experience left upon the literature, politics, and life of Eastern Europe, in particular upon one gifted and doomed writer.
2019 Lambda Literary Awards Finalist
Bringing Chicana/o studies into conversation with queer theory and transgender studies, Post-Borderlandia examines why gender variance is such a core theme in contemporary Chicana and Chicanx narratives. It considers how Chicana butch lesbians and Chicanx trans people are not only challenging heteropatriarchal norms, but also departing from mainstream conceptions of queerness and gender identification.
Expanding on Gloria Anzaldúa’s classic formulation of the Chicana as transformer of the “borderlands,” Jackie Cuevas explores how a new generation of Chicanx writers, performers, and filmmakers are imagining a “post-borderlands” subjectivity, where shifting national, racial, class, sexual, and gender identifications produce complex power dynamics. In addition, Cuevas offers fresh archival analysis of the Chicana feminist canon to reveal how queer gender variance has always been crucial to this literary tradition.
Extensively illustrated with representative images, this unique book illuminates the cultural significance of the highly colorized “linen” postcards that depicted a glowing America in the 1930s and 1940s and that fascinate collectors today.
From the Great Depression through the early postwar years, any postcard sent in America was more than likely a “linen” card. Colorized in vivid, often exaggerated hues and printed on card stock embossed with a linen-like texture, linen postcards celebrated the American scene with views of majestic landscapes, modern cityscapes, roadside attractions, and other notable features. These colorful images portrayed the United States as shimmering with promise, quite unlike the black-and-white worlds of documentary photography or Life magazine. Linen postcards were enormously popular, with close to a billion printed and sold.
Postcard America offers the first comprehensive study of these cards and their cultural significance. Drawing on the production files of Curt Teich & Co. of Chicago, the originator of linen postcards, Jeffrey L. Meikle reveals how photographic views were transformed into colorized postcard images, often by means of manipulation—adding and deleting details or collaging bits and pieces from several photos. He presents two extensive portfolios of postcards—landscapes and cityscapes—that comprise a representative iconography of linen postcard views. For each image, Meikle explains the postcard’s subject, describes aspects of its production, and places it in social and cultural contexts. In the concluding chapter, he shifts from historical interpretation to a contemporary viewpoint, considering nostalgia as a motive for collectors and others who are fascinated today by these striking images.
This form of place study calls attention to how we can see a past through a serial view of places, by the nature of repetition, and the photographing of the same place over and over again. Arreola draws our focus to townscapes, or built landscapes, of four border towns—Tijuana, Mexicali, Tecate, and Algodones—during the first half of the twentieth century. With an emphasis on the tourist’s view of these places, this book creates a vivid picture of what life was like for tourists and residents of these towns in the early and mid-twentieth century. Postcards from the Baja California Border is a rich and fascinating experience, one that takes you on a time-travel journey through border town histories and geographies while celebrating the visual intrigue of postcards.
In Postcards from the Chihuahua Border Daniel D. Arreola captures the exhilaration of places in time, taking us back to Mexico’s northern border towns of Cuidad Juárez, Ojinaga, and Palomas in the early twentieth century. Drawing on more than three decades of archival work, Arreola uses postcards and maps to unveil the history of these towns along west Texas’s and New Mexico’s southern borders.
Postcards offer a special kind of visual evidence. Arreola’s collection of imagery and commentary about them shows us singular places, enriching our understandings of history and the history of change in Chihuahua. No one postcard tells the entire story. But image after image offers a collected view and insight into changing perceptions. Arreola’s geography of place looks both inward and outward. We see what tourists see, while at the same time gaining insight about what postcard photographers and postcard publishers wanted to be seen and perceived about these border communities.
Postcards from the Chihuahua Border is a colorful and dynamic visual history. It invites the reader to time travel, to revisit another era—the first half of the last century—when these border towns were framed and made popular through picture postcards.
Between 1900 and the late 1950s, Mexican border towns came of age both as tourist destinations and as emerging cities. Commercial photographers produced thousands of images of their streets, plazas, historic architecture, and tourist attractions, which were reproduced as photo postcards. Daniel Arreola has amassed one of the largest collections of these border town postcards, and in this book, he uses this amazing visual archive to offer a new way of understanding how the border towns grew and transformed themselves in the first half of the twentieth century, as well as how they were pictured to attract American tourists.
Postcards from the Río Bravo Border presents nearly two hundred images of five significant towns on the lower Río Bravo—Matamoros, Reynosa, Nuevo Laredo, Piedras Negras, and Villa Acuña. Using multiple images of sites within each city, Arreola tracks changes both within the cities as places and in the ways in which the cities have been pictured for tourist consumption. He makes a strong case that visual imagery has a shaping influence on how we negotiate and think about places, creating a serial scripting or narrating of the place. Arreola also shows how postcard images, when systematically and chronologically arranged, can tell us a great deal about how Mexican border towns have been viewed over time. This innovative visual approach demonstrates that historical imagery, no less than text or maps, can be assembled to tell a compelling geographical story about place and time.
Young men ride horses on a dusty main road through town. Cars and gas stations gradually intrude on the land, and, years later, curiosity shops and cantinas change the face of Mexican border towns south of Arizona. Between 1900 and the late 1950s, Mexican border towns came of age both as centers of commerce and as tourist destinations. Postcards from the Sonora Border reveals how images—in this case the iconic postcard—shape the way we experience and think about place.
Making use of his personal collection of historic images, Daniel D. Arreola captures the evolution of Sonoran border towns, creating a sense of visual “time travel” for the reader. Supported by maps and visual imagery, the author shares the geographical and historical story of five unique border towns—Agua Prieta, Naco, Nogales, Sonoyta, and San Luis Río Colorado.
Postcards from the Sonora Border introduces us to these important towns and provides individual stories about each, using the postcards as markers. No one postcard view tells the complete story—rather, the sense of place emerges image by image as the author pulls readers through the collection as an assembled view. Arreola reveals how often the same locations and landmarks of a town were photographed as postcard images generation after generation, giving a long and dynamic view of the inhabitants through time. Arranged chronologically, Arreola’s postcards allow us to discover the changing perceptions of place in the borderlands of Sonora, Mexico.
Advancing multiple, even conflicted visions of postcolonial America, this important volume interrogates postcolonial theory and traces the emergence and significance of postcolonial practices and precepts in the United States. Contributors discuss how the unique status of the United States as the colony that became a superpower has shaped its sense of itself. They assess the global networks of inequality that have displaced neocolonial systems of conquest, exploitation, and occupation. They also examine how individuals and groups use music, the Internet, and other media to reconfigure, reinvent, and resist postcoloniality in American culture.
Candidly facing the inherent contradictions of "the American experience," this collection demonstrates the patterns, connections, and histories characteristic of postcoloniality in America and initiates important discussions about how these conditions might be changed.
Despite the central role that animals play in African writing and daily life, African literature and African thinkers remain conspicuously absent from the field of animal studies. The Postcolonial Animal: African Literature and Posthuman Ethics demonstrates the importance of African writing to animal studies by analyzing how postcolonial African writing—including folktales, religion, philosophy, and anticolonial movements—has been mobilized to call for humane treatment of nonhuman others. Mwangi illustrates how African authors grapple with the possibility of an alternative to eating meat, and how they present postcolonial animal-consuming cultures as shifting toward an embrace of cultural and political practices that avoid the use of animals and minimize animal suffering. The Postcolonial Animal analyzes texts that imagine a world where animals are not abused or used as a source of food, clothing, or labor, and that offer instruction in how we might act responsibly and how we should relate to others—both human and nonhuman—in order to ensure a world free of oppression. The result is an equitable world where even those who are utterly foreign to us are accorded respect and where we recognize the rights of all marginalized groups.
Drawing on archival research and interviews with Rama Rau, historian Antoinette Burton opens Rama Rau’s career into an examination of orientalism in the postwar United States, the changing idioms of cosmopolitanism in the postcolonial era, and the afterlife of British colonialism in the American public sphere. Burton describes how Rama Rau’s career was shaped by gendered perceptions of India and “the East” as well as by the shifting relationships between the United States, India, Pakistan, and Great Britain during the Cold War. Exploring how Rama Rau positioned herself as an expert on both India and the British empire, Burton analyzes the correspondence between Rama Rau and her Time-Life editors over the contents of her book The Cooking of India (1969), and Rama Rau’s theatrical adaptation of E. M. Forster’s A Passage to India, which played on Broadway in 1961 and was the basis for David Lean’s 1985 film. Burton assesses the critical reception of Rama Rau’s play as well as her correspondence with Forster and Lean.
Although she considers a variety of sources—government directives, census reports, statistics, poetry, civic festivities, ethnographies, and museum displays—Pelley focuses primarily on the work of official historians in Hanoi who argued about and tried to stabilize the meaning of topics ranging from prehistory to the Vietnam War. She looks at their strained and idiosyncratic attempts to plot the Vietnamese past according to Marxist and Stalinist paradigms and their ultimate abandonment of such models. She explores their struggle to redefine Vietnam in multiethnic terms and to normalize the idea of the family-state. Centering on the conversation that began in 1954 among historians in North Vietnam, her work identifies a threefold process of creating the new history: constituting historiographical issues, resolving problems of interpretation and narration, and conventionalizing various elements of the national narrative. As she tracks the processes that shaped the history of postcolonial Vietnam, Pelley dismantles numerous clichés of contemporary Vietnamese history and helps us to understand why and how its history-writing evolved.
By focusing on the unconscious fantasies about post-fascist body and post-fascist voice that suffuse the texts of Wolf and others, Hell radically reconceptualizes the notion of the author’s subjective authenticity. Since this notion occupies a key position in previous literary-historical accounts of East German culture, Hell’s psychoanalytic approach problematizes the established literary model of an "authentic feminine voice" that gradually liberates itself from the GDR’s dominant ideological narrative. Far from operating solely on a narrowly political level, the novels of Wolf and others were intricate family sagas portraying psychic structures linked in complex ways to the GDR’s social dynamics. Hell traces this link through East German literatrure’s dominant narrative, a paternal narrative organized around the figure of the Communist father as antifascist hero.
Before there was Che Guevara, there was Emiliano Zapata, the charismatic revolutionary who left indelible marks on Mexican politics and society. The sequel to Samuel Brunk's 1995 biography of Zapata, The Posthumous Career of Emiliano Zapata traces the power and impact of this ubiquitous, immortalized figure.
Mining the massive extant literature on Zapata, supplemented by archival documents and historical newspaper accounts, Brunk explores frameworks of myth and commemoration while responding to key questions regarding the regime that emerged from the Zapatista movement, including whether it was spawned by a genuinely "popular" revolution.
Blending a sophisticated analysis of hegemonic systems and nationalism with lively, accessible accounts of ways in which the rebel is continually resurrected decades after his death in a 1919 ambush, Brunk delves into a rich realm of artistic, geographical, militaristic, and ultimately all-encompassing applications of this charismatic icon.
Examining all perspectives, from politicized commemorations of Zapata's death to popular stories and corridos, The Posthumous Career of Emiliano Zapata is an eloquent, engaging portrait of a legend incarnate.
With the collapse of the Cold War following the Eastern European revolutions and the ongoing democratization of the Soviet republics, optimism about peace has transformed the international political climate. Incidents such as the Gulf War, however, have tempered this optimism and cast doubts on the prospects for demilitarization. In this book, Martin Shaw examines some of the developments that lie behind the recent momentous changes and argues that, despite the Gulf War and other regional wars, militarism is in decisive retreat.
Writing from a broadly sociological perspective, Shaw examines the roles of war and military institutions in human society and the ways in which preoccupation with war has affected domestic, regional, and international politics in the twentieth century. In doing so, he asks: When does the post-war era end? How have nuclear weapons altered the perception of war by society? What is the relationship between industrialism and militarism?
The author contends that, despite the militarism of some Third World countries, societies in the advanced industrial world (especially in Europe) have been undergoing a profound demilitarization. These societies have become politically insulated from war preparation, have recognized the effect of social movements on inter-state relations, and are experiencing a "revolution of rising expectations."
Offering evidence of "post-military citizenship," Shaw describes the increasing resistance to military conscription throughout the Western world, the replacement of blind obedience with demand for accountability in Eastern bloc countries, and the simultaneous rise of nationalism and communitarianism among common market members. And, in light of the collapse of Stalinist militarism in Europe and the USSR, Shaw suggests some of the changes that face Soviet society.
In the twenty-first century as an interest in Marxist thought again coincides with the specter of financial inflation, The Post-Modern Aura is timely again.
This collection explores the Latin American engagement with postmodernism, less to present a regional variant of the concept than to situate it in a transnational framework. Recognizing that postmodernism in Latin America can only inaccurately be thought of as having traveled from an advanced capitalist "center" to arrive at a still dependent neocolonial "periphery," the contributors share the assumption that postmodernism is itself about the dynamics of interaction between local and metropolitan cultures in a global system in which the center-periphery model has begun to break down. These essays examine the ways in which postmodernism not only designates the effects of this transnationalism in Latin America, but also registers the cultural and political impact on an increasingly simultaneous global culture of a Latin America struggling with its own set of postcolonial contingencies, particularly the crisis of its political left, the dominance of neoliberal economic models, and the new challenges and possibilities opened by democratization.
With new essays on the dynamics of Brazilian culture, the relationship between postmodernism and Latin American feminism, postmodernism and imperialism, and the implications of postmodernist theory for social policy, as well as the text of the Declaration from the Lacandon Jungle of the Zapatatista National Liberation Army, this expanded edition of boundary 2 will interest not only Latin Americanists, but scholars in all disciplines concerned with theories of the postmodern.
Contributors. Xavier Albó, José Joaquín Brunner, Fernando Calderón, Enrique Dussel, Néstor García Canclini, Martín Hopenhayn, Neil Larsen, the Latin American Subaltern Studies Group, Norbert Lechner, María Milagros López, Raquel Olea, Aníbal Quijano, Nelly Richard, Carlos Rincón, Silviano Santiago, Beatriz Sarlo, Roberto Schwarz, and Hernán Vidal
Focusing on literature, Colás uses Julio Cortázar’s Hopscotch to characterize modernity for Latin America as a whole, Manuel Puig’s Kiss of the Spider Woman to identify the transition to a more localized postmodernity, and Ricardo Piglia’s Artificial Respiration to exemplify the cultural coordinates of postmodernity in Argentina. Informed by the cycle of political transformation beginning with the Cuban Revolution, including its effects on Peronism, to the period of dictatorship, and finally to redemocratization, Colás’s examination of this literary progression leads to the reconstruction of three significant moments in the history of Argentina. His analysis provokes both a revised understanding of that history and the recognition that multiple meanings of postmodernity must be understood in ways that incorporate the complexity of regional differences.
Offering a new voice in the debate over postmodernity, one that challenges that debate’s leading thinkers, Postmodernity in Latin America will be of particular interest to students of Latin American literature and to scholars in all disciplines concerned with theories of the postmodern.
The first section of essays returns to the category of the “post-modern” and argues for the usefulness of key concepts and themes from postmodernism to the study of contemporary literature, or reevaluates postmodernism in light of recent developments in the field and historical and economic changes in the late twentieth and early twenty-first centuries. These essays take the contemporary abandonments of postmodernism as an occasion to assess the current states of postmodernity. After that, the essays move to address the critical shift away from postmodernism as a description of the present, and toward a new sense of postmodernism as just one category among many that scholars can use to describe the recent past. The final section looks forward and explores the question of what comes after the postwar/postmodern.
Taken together, these essays from leading and emerging scholars on the state of twenty-first-century literary studies provide a number of frameworks for approaching contemporary literature as influenced by, yet distinct from, postmodernism. The result is an indispensable guide that seeks to represent and understand the major overhauling of postwar American literary studies that is currently underway.
Focusing on post-Franco Spanish fiction from 1975 to 1989, Robert C. Spires applies the concepts of episteme and discursive field to the ways in which language from multiple sources determines how reality is defined at a given moment and how it influences ideas, attitudes, and feelings. Spires identifies bonds connecting disparate academic disciplines and sociopolitical events by exploring how the world of fiction serves as a register of the nonfictional world.
In 1989 the Soviet bloc, along with other totalitarian regimes in South America and Africa, disappeared from the global geopolitical map. Spain set the precedent for this decentralizing revolution when, in 1975, its longtime dictator, Francisco Franco, died; democratic elections followed two years later. This study records an epistemic shift away from logocentric and totalizing approaches to reality by analyzing the links between the novelistic strategies used by Spanish writers from 1975 to 1989 and recent international events and theoretical trends in science, mathematics, communication studies, and art. Highlighting worldwide processes of fragmentation, decentralization, and pluralism, Spires foregrounds ways in which literary and scientific approaches to and concepts of reality coincide, with fiction serving as one more register of how reality is conceived at a particular point in time.
Post-Totalitarian Spanish Fiction makes a major contribution in the field of Spanish literature and will enhance the esteem that contemporary Spanish literature is beginning to achieve internationally. In addition, this "epistemocritical" project will serve as a model for literary critics who wish to accommodate the increasingly popular approach labeled "cultural studies" without surrendering the primacy of the literary text.
From 1931 to 1945 Pound's poetry took a back seat to his activities as an economic reformer and propagandist for the corporate state. Pound believed he had a simple and practical solution for the economic woes of the world brought on by the Great Depression, and he became increasingly preoccupied with capturing political power for the economic reform he envisioned.
As the world spiraled toward war, Pound's program of economic reform foundered and he gradually succumbed to a paranoid belief in a Jewish conspiracy. Through an incisive analysis of Pound's correspondence and writings, much of it previously unexamined, Surette shows how this belief fostered the virulent anti-Semitism that pervades his work-–both poetry and prose-–from this time forward.
Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the 1930s and 1940s, including his opinions about Mussolini's Italy. The letters to Cummings also shed new light on the question of Pound's sanity after World War II. Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity.
Similarly, these letters should provoke a reevaluation of Cummings. Critics have treated Cummings's political views as either strictly private matters or merely incidental to his art. The letters, however, show that Cummings's radically conservative political opinions are wholly consistent with his poetics, and raise the question of the relation between Cummings's political principles and his enthusiasm for particular forms (and particular stars) of mass entertainment.
In addition to their political revelations, the letters are steeped in the literary climate--and literary gossip--of the times. Pound comments often and candidly on Cummings's poetry and prose; both Pound and Cummings send light verse to each other. And the poets exchange anecdotes about such figures as Henry James, Wyndham Lewis, T. S. Eliot, Edmund Grosse, Max Eastman, and Aldous Huxley, among other writers.
There is much here to interest and delight both fans and foes of Pound and Cummings. The book will be of primary importance to students and scholars of modern poetry, especially those who emphasize the intersection of literary works and political history.
Barry Ahearn is Associate Professor of English, Tulane University.
Berthe Weill, a formidable Parisian dealer, was born into a Jewish family of very modest means. One of the first female gallerists in the business, she first opened the Galerie B. Weill in the heart of Paris’s art gallery district in 1901, holding innumerable exhibitions over nearly forty years. Written out of art history for decades, Weill has only recently regained the recognition she deserves.
Under five feet tall and bespectacled, Weill was beloved by the artists she supported, and she rejected the exploitative business practices common among art dealers. Despite being a self-proclaimed “terrible businesswoman,” Weill kept her gallery open for four decades, defying the rising tide of antisemitism before Germany’s occupation of France. By the time of her death in 1951, Weill had promoted more than three hundred artists—including Henri Matisse, Pablo Picasso, Amedeo Modigliani, Diego Rivera, and Suzanne Valadon—many of whom were women and nearly all young and unknown when she first exhibited them.
Pow! Right in the Eye! makes Weill’s provocative 1933 memoir finally available to English readers, offering rare insights into the Parisian avant-garde and a lively inside account of the development of the modern art market.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
Elizabeth Alexander is considered one of the country's most gifted contemporary poets, and the publication of her essays in The Black Interior in 2004 established her as an astute critic and cultural commentator as well. Arnold Rampersad has called Alexander "one of the brightest stars in our literary sky . . . a superb, invaluable commentator on the American scene." In this new collection of her essays, reviews, and interviews, Alexander again focuses on African American artistic production, particularly poetry, and the cultural contexts in which it is created and experienced.
The book's first section, "Black Arts 101," takes up the poetry of Paul Laurence Dunbar, Sterling Brown, Lucille Clifton, Gwendolyn Brooks, and Rita Dove (among others); artist Romare Bearden; dancer Bill T. Jones; and dramatist August Wilson. A second section, "Black Feminist Thinking," provides engaging meditations ranging from "My Grandmother's Hair" and "A Very Short History of Black Women and Food" to essays on the legacies of Toni Cade, Audre Lorde, and June Jordan. The collection's final section, "Talking," includes interviews, a commencement address---"Black Graduation"---and the essay "Africa and the World."
Elizabeth Alexander received a B.A. from Yale University, an M.A. from Boston University, and a Ph.D. in English from the University of Pennsylvania. She has published four books of poems: The Venus Hottentot (1990); Body of Life (1996); Antebellum Dream Book (2001); and, most recently, American Sublime (2005), which was one of three finalists for the Pulitzer Prize. Her play, Diva Studies, was produced at the Yale School of Drama. She is presently Professor of American and African American Studies at Yale University.
In a brilliantly-conceived book, Jeremi Suri puts the tumultuous 1960s into a truly international perspective in the first study to examine the connections between great power diplomacy and global social protest. Profoundly disturbed by increasing social and political discontent, Cold War powers united on the international front, in the policy of detente. Though reflecting traditional balance of power considerations, detente thus also developed from a common urge for stability among leaders who by the late 1960s were worried about increasingly threatening domestic social activism.
In the early part of the decade, Cold War pressures simultaneously inspired activists and constrained leaders; within a few years activism turned revolutionary on a global scale. Suri examines the decade through leaders and protesters on three continents, including Mao Zedong, Charles de Gaulle, Martin Luther King Jr., Daniel Cohn-Bendit, and Aleksandr Solzhenitsyn. He describes connections between policy and protest from the Berkeley riots to the Prague Spring, from the Paris strikes to massive unrest in Wuhan, China.
Designed to protect the existing political order and repress movements for change, detente gradually isolated politics from the public. The growth of distrust and disillusion in nearly every society left a lasting legacy of global unrest, fragmentation, and unprecedented public skepticism toward authority.
At the end of the nineteenth century, the United States emerged as an economic colossus in command of a new empire. Yet for the next forty years the United States eschewed the kind of aggressive grand strategy that had marked other rising imperial powers in favor of a policy of moderation.
In Power and Restraint, Jeffrey W. Meiser explores why the United States—counter to widely accepted wisdom in international relations theory—chose the course it did. Using thirty-four carefully researched historical cases, Meiser asserts that domestic political institutions and culture played a decisive role in preventing the mobilization of resources necessary to implement an expansionist grand strategy. These factors included traditional congressional opposition to executive branch ambitions, voter resistance to European-style imperialism, and the personal antipathy to expansionism felt by presidents like Woodrow Wilson and Franklin Roosevelt. The web of resilient and redundant political restraints halted or limited expansionist ambitions and shaped the United States into an historical anomaly, a rising great power characterized by prudence and limited international ambitions.
Only recently have international relations scholars started to seriously examine the influence of collective memory on foreign policy formation and relations between states and peoples. The ways in which the memories of past events are interpreted, misinterpreted, or even manipulated in public discourse create the context that shapes international relations.
Power and the Past brings together leading history and international relations scholars to provide a groundbreaking examination of the impact of collective memory. This timely study makes a contribution to developing a theory of memory and international relations and also examines specific cases of collective memory’s influence resulting from the legacies of World War II, the Holocaust, and September 11. Addressing concerns shared by world leaders and international institutions as well as scholars of international studies, this volume illustrates clearly how the memory of past events alters the ways countries interact in the present, how memory shapes public debate and policymaking, and how memory may aid or more frequently impede conflict resolution.
More and more scholars are turning to cultural history in order to make sense of the American past. This volume brings together nine original essays by some leading practitioners in the field. The essays aim to exhibit the promise of a cultural approach to understanding the range of American experiences from the seventeenth century to the present.
Expanding on the editors' pathbreaking The Culture of Consumption, the contributors to this volume argue for a cultural history that attends closely to language and textuality without losing sight of broad configurations of power that social and political history at its best has always stressed. The authors here freshly examine crucial topics in both private and public life. Taken together, the essays shed new light on the power of culture in the lives of Americans past and present.
The Power of Genre was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The Power of Genre is a radical and systematic rethinking of the relationship between literary genre and critical explanation. Adene Rosmarin shows how traditional theories of genre—whether called "historical," "intrinsic," or "theoretical"—are necessarily undone by their attempts to define genre representationally. Rather, Rosmarin argues, the opening premise of critical argument is always critical purpose or, as E. H. Gombrich has said, function, and the genre or "form" follows the reform. The goal is a relational model that works.
Rosemarin analyzes existing theories of genre — those of Hirsch, Crane, Frye, Todorov, Jauss, and Rader are given particular attention—before proposing her own. These analyses uncover the illogic that plagues even sophisticated attempts to treat genre as a preexistent entity. Rosmarin shows how defining genre pragmatically – as explicitly chosen or devised to serve explicitly critical purposes – solves this problem: a pragmatic theory of genre builds analysis of its metaphors and motives into its program, thereby eliminating theory's traditional need to deny the invented and rhetorical nature of its schemes. A pragmatic theory, however, must be tested not only by its internal cohesion but also by its power to enable practice, and Rosmarin chooses the dramatic monologue, an infamously problematic genre, and its recent relative, the mask lyric, as testing grounds. Both genres—variously exemplified by poems of Browning, Thennyson, Eliot, and Pound—are ex post facto critical constructs that, when defined as such, make closely reasoned sense not only of particular poems but also of their perplexed interpretive histories. Moreover, both genres dwell on the historicity, textuality, and redemptive imperfection of the speaking self. This generic obsession ties the poems to their reception and, finally, to the openended, processes of hermeneutic question-and-answer stressed in Rosmarin's framing theory.
George W. Bush called it "the best job in the world," yet many would argue that the Texas governorship is a weak office. Given few enumerated powers by the Texas Constitution, the governor must build a successful relationship with the state legislature—sometimes led by a powerful lieutenant governor or speaker of the opposing party—to advance his or her policy agenda. Yet despite the limitations on the office and the power of the legislative branch, many governors have had a significant impact on major aspects of Texas's public life—government, economic development, education, and insurance reform among them. How do Texas governors gain the power to govern effectively?
The Power of the Texas Governor takes a fresh look at the state's chief executives, from John Connally to George W. Bush, to discover how various governors have overcome the institutional limitations of the office. Delving into the governors' election campaigns and successes and failures in office, Brian McCall makes a convincing case that the strength of a governor's personality—in particular, his or her highly developed social skills—can translate into real political power. He shows, for example, how governors such as Ann Richards and George W. Bush forged personal relationships with individual legislators to achieve their policy goals. Filled with revealing insights and anecdotes from key players in each administration, The Power of the Texas Governor offers new perspectives on leadership and valuable lessons on the use of power.
Robert D. Lifset offers an original case history of this monumental event in environmental history, when a small group of concerned local residents initiated a landmark case of ecology versus energy production. He follows the progress of this struggle, as Con Ed won approvals and permits early on, but later lost ground to environmentalists who were able to raise questions about the potential damage to the habitat of Hudson River striped bass.
Lifset uses the struggle over Storm King to examine how environmentalism changed during the 1960s and 1970s. He also views the financial challenges and increasingly frequent blackouts faced by Con Ed, along with the pressure to produce ever-larger quantities of energy.
As Lifset demonstrates, the environmental cause was greatly empowered by the fact that through this struggle, for the first time, environmentalists were able to gain access to the federal courts. The environmental cause was also greatly advanced by adopting scientific evidence of ecological change, combined with mounting public awareness of the environmental consequences of energy production and consumption. These became major factors supporting the case against Con Ed, spawning a range of new local, regional, and national environmental organizations and bequeathing to the Hudson River Valley a vigilant and intense environmental awareness. A new balance of power emerged, and energy companies would now be held to higher standards that protected the environment.
Power Over Property argues that in practice, however, the opposite occurred: the redistribution of political power led to a more equal distribution of property. China’s land reform was accomplished not only through the state’s power to define the distribution of resources, but also through village communities prioritizing political entitlements above property rights. Through the systematic analysis of never-before studied micro-level data on practices of land reform in over five hundred villages, Power Over Property demonstrates how land reform primarily involved the removal of former power holders, the mobilization of mass political participation, and the creation of a new social-political hierarchy. Only after accomplishing all of this was it possible to redistribute land. This redistribution, moreover, was determined by political relations to a new structure of power, not just economic relations to the means of production.
The experience of China’s land reform complicates our understanding of the relations between economic, social, and political equality. On the one hand, social equality in China was achieved through political, not economic means. On the other hand, the fundamental solution was a more effective hierarchy of fair entitlements, not equal rights. This book ultimately suggests that focusing on economic equality alone may obscure more important social and political dynamics in the development of the modern world.
Founded in 1965 and still active today, the Association for the Advancement of Creative Musicians (AACM) is an American institution with an international reputation. George E. Lewis, who joined the collective as a teenager in 1971, establishes the full importance and vitality of the AACM with this communal history, written with a symphonic sweep that draws on a cross-generational chorus of voices and a rich collection of rare images.
Moving from Chicago to New York to Paris, and from founding member Steve McCall’s kitchen table to Carnegie Hall, A Power Stronger Than Itself uncovers a vibrant, multicultural universe and brings to light a major piece of the history of avant-garde music and art.
Chosen as a Choice Magazine's Outstanding Academic Book for 1999.
Between the 1880s and the 1940s, the region known as British West Africa became a dynamic zone of literary creativity and textual experimentation. African-owned newspapers offered local writers numerous opportunities to contribute material for publication, and editors repeatedly defined the press as a vehicle to host public debates rather than simply as an organ to disseminate news or editorial ideology. Literate locals responded with great zeal, and in increasing numbers as the twentieth century progressed, they sent in letters, articles, fiction, and poetry for publication in English- and African-language newspapers.
The Power to Name offers a rich cultural history of this phenomenon, examining the wide array of anonymous and pseudonymous writing practices to be found in African-owned newspapers between the 1880s and the 1940s, and the rise of celebrity journalism in the period of anticolonial nationalism. Stephanie Newell has produced an account of colonial West Africa that skillfully shows the ways in which colonized subjects used pseudonyms and anonymity to alter and play with colonial power and constructions of African identity.
Powerful Frequencies details the central role that radio technology and broadcasting played in the formation of colonial Portuguese Southern Africa and the postcolonial nation-state, Angola. In Intonations, Marissa J. Moorman examined the crucial relationship between music and Angolan independence during the 1960s and ’70s. Now, Moorman turns to the history of Angolan radio as an instrument for Portuguese settlers, the colonial state, African nationalists, and the postcolonial state. They all used radio to project power, while the latter employed it to challenge empire.
From the 1930s introduction of radio by settlers, to the clandestine broadcasts of guerrilla groups, to radio’s use in the Portuguese counterinsurgency strategy during the Cold War era and in developing the independent state’s national and regional voice, Powerful Frequencies narrates a history of canny listeners, committed professionals, and dissenting political movements. All of these employed radio’s peculiarities—invisibility, ephemerality, and its material effects—to transgress social, political, “physical,” and intellectual borders. Powerful Frequencies follows radio’s traces in film, literature, and music to illustrate how the technology’s sonic power—even when it made some listeners anxious and frightened—created and transformed the late colonial and independent Angolan soundscape.
Powers of the Real analyzes the cultural politics of cinema's persuasive sensory realism in interwar Japan. Examining cultural criticism, art, news media, literature, and film, Diane Wei Lewis shows how representations of women and signifiers of femininity were used to characterize new forms of pleasure and fantasy enabled by consumer culture and technological media. Drawing on a rich variety of sources, she analyzes the role that images of women played in articulating the new expressions of identity, behavior, and affiliation produced by cinema and consumer capitalism. In the process, Lewis traces new discourses on the technological mediation of emotion to the 1923 Great Kanto Earthquake and postquake mass media boom. The earthquake transformed the Japanese film industry and lent urgency to debates surrounding cinema's ability to reach a mass audience and shape public sentiment, while the rise of consumer culture contributed to alarm over rampant materialism and "feminization."
Demonstrating how ideas about emotion and sexual difference played a crucial role in popular discourse on cinema’s reach and its sensory-affective powers, Powers of the Real offers new perspectives on media history, the commodification of intimacy and emotion, film realism, and gender politics in the “age of the mass society” in Japan.
Hayden White borrows the title for The Practical Past from philosopher Michael Oakeshott, who used the term to describe the accessible material and literary-artistic artifacts that individuals and institutions draw on for guidance in quotidian affairs. The Practical Past, then, forms both a summa of White’s work to be drawn upon and a new direction in his thinking about the writing of history.
White’s monumental Metahistory: The Historical Imagination in Nineteenth-Century Europe (1973) challenged many of the commonplaces of professional historical writing and wider assumptions about the ontology of history itself. It formed the basis of his argument that we can never recover “what actually happened”in the past and cannot really access even material culture in context. Forty years on, White sees “professional history" as falling prey to narrow specialization, and he calls upon historians to take seriously the practical past of explicitly “artistic” works, such as novels and dramas, and literary theorists likewise to engage historians.
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