A SCHOLARLY BOOK REPOSITORY587 start with S start with S
Kinohi Nishikawa contends that black pulp fiction was built on white readers’ fears of the feminization of society—and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers—a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fiction’s origins that cannot be ignored.
Everybody’s got a theory . . . or do they?
Thomas McLaughlin argues that critical theory—raising serious, sustained questions about cultural practice and ideology—is practiced not only by an academic elite but also by savvy viewers of sitcoms and TV news, by Elvis fans and Trekkies, by labor organizers and school teachers, by the average person in the street.
Like academic theorists, who are trained in a tradition of philosophical and political skepticism that challenges all orthodoxies, the vernacular theorists McLaughlin identifies display a lively and healthy alertness to contradiction and propaganda. They are not passive victims of ideology but active questioners of the belief systems that have power over their lives. Their theoretical work arises from the circumstances they confront on the job, in the family, in popular culture. And their questioning of established institutions, McLaughlin contends, is essential and healthy, for it energizes other theorists who clarify the purpose and strategies of institutions and justify the existence of cultural practices.
Street Smarts and Critical Theory leads us through eye-opening explorations of social activism in the Southern Christian anti-pornography movement, fan critiques in the ‘zine scene, New Age narratives of healing and transformation, the methodical manipulations of the advertising profession, and vernacular theory in the whole-language movement. Emphasizing that theory is itself a pervasive cultural practice, McLaughlin calls on academic institutions to recognize and develop the theoretical strategies that students bring into the classroom.
“This book demystifies the idea of theory, taking it out of the hands of a priestly caste and showing it as the democratic endowment of the people.”—Daniel T. O’Hara, Temple University, author of Radical Parody: American Culture and Critical Agency after Foucault and Lionel Trilling: The Work of Liberation.
“McLaughlin takes seriously the critical and theoretical activity of everyday people and does so in a way that will empower these very populations to take seriously their own activities as theorists. . . . A manifesto that is sure to be heard by the younger generation of thinkers in American cultural studies.”—Henry Jenkins, MIT, author of Textual Poachers: Television Fans and Participatory Culture
The Streets of San Francisco uncovers the seldom reported, street-level interactions between police officers and San Francisco residents and finds that police discretion was the defining feature of mid-century law enforcement. Postwar police officers enjoyed great autonomy when dealing with North Beach beats, African American gang leaders, gay and lesbian bar owners, Haight-Ashbury hippies, artists who created sexually explicit works, Chinese American entrepreneurs, and a wide range of other San Franciscans. Unexpectedly, this police independence grew into a source of both concern and inspiration for the thousands of young professionals streaming into the city's growing financial district. These young professionals ultimately used the issue of police discretion to forge a new cosmopolitan liberal coalition that incorporated both marginalized San Franciscans and rank-and-file police officers. The success of this model in San Francisco resulted in the rise of cosmopolitan liberal coalitions throughout the country, and today, liberal cities across America ground themselves in similar understandings of democracy, emphasizing both broad diversity and strong policing.
Chronicles the history of battlefield air attack from 1911, when the airplane was first used in war, to the end of World War II.
When viewed from our turbulent times, the Minneapolis of fifty years ago might seem serene, but Minneapolis schoolteachers of the day remember it quite differently. It was, author William D. Green said of their recollections, as if they’d been through war. This book recreates twenty days in April 1970 when a then-illegal strike by Minneapolis’s public school teachers marked a singular moment of cultural upheaval—and forever changed the city’s politics, labor law, educational climate, and the right to collective bargaining.
Since the inception of public education in Minnesota, teachers were expected to pursue their vocation out of civic spirit, with low wages, no benefits, and no job security. Strike! describes the history and circumstances leading to the teachers’ extraordinary action, which pitted the progressive and conservative teachers’ unions against each other—and both against the all-powerful school district, a hostile governor and state legislature, and a draconian Minnesota law. Capturing the intense emotions and heated rivalries of the strike, Green profiles the many actors involved, the personal and professional stakes, and the issues of politics, law, and the business of education.
Informed by interviews, firsthand accounts, news reports, and written records, Strike! brings to life a pivotal moment not just for Minneapolis’s teachers but for the city itself, whose government, school system, and culture would, in a complex but inexorable way, change course for good.
Over time, field nurses and Native people formed a positive working relationship that resulted in the decline of mortality from infectious diseases. Many Native Americans accepted and used Western medicine to fight pathogens, while also continuing Indigenous medicine ways. Nurses helped control tuberculosis, measles, influenza, pneumonia, and a host of gastrointestinal sicknesses. In partnership with the community, nurses quarantined people with contagious diseases, tested for infections, and tracked patients and contacts. Indians turned to nurses and learned about disease prevention. With strong hearts, Indians eagerly participated in the tuberculosis campaign of 1939–40 to x-ray tribal members living on twenty-nine reservations. Through their cooperative efforts, Indians and health-care providers decreased deaths, cases, and misery among the tribes of Southern California.
The Structural Allegory was first published in 1984. 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 radical questions raised by Saussure, Barthes, Foucault, Levi-Strauss, and others have had an enormous impact on Anglo-American literary and cultural studies over the past twenty years. John Fekete argues that we can see this strategic development of French thought in terms of what he calls "the structural allegory." Structuralism proper has given way to the currently dominant model of post-structuralism, yet we remain uncertain of the practical orientations favored by thinkers associated with both phases of the movement.
With the aim of uncovering the legacy of the structural tradition, the essays in this volume survey key French thinkers, including some not well known in the Anglo-American context — Baudrillard and Castoriadis. The essays are reconstructive, not deconstructive, in character, scholarly in method, and ecumenical in spirit. While the structural allegory emerges from this critical analysis as an inescapable intellectual paradigm (analogous to the transformations in quantum physics and modern biology), the authors argue that it merits admiration and reservation in equal measure.
As in many American metropolitan areas, inequality in Chicagoland is visible in its neighborhoods. These inequalities are not inevitable, however. They have been constructed and deepened by public policies around housing, schooling, taxation, and local governance, including hidden state government policies.
In Structuring Inequality, historian Tracy L. Steffes shows how metropolitan inequality in Chicagoland was structured, contested, and naturalized over time even as reformers tried to change it through school desegregation, affordable housing, and property tax reform. While these efforts had modest successes in the city and the suburbs, reformers faced significant resistance and counter-mobilization from affluent suburbanites, real estate developers, and other defenders of the status quo who defended inequality and reshaped the policy conversation about it. Grounded in comprehensive archival research and policy analysis, Structuring Inequality examines the history of Chicagoland’s established systems of inequality and provides perspective on the inequality we live with today.
Among the writers Klinkowitz discusses are Richard Brautigan, Kurt Vonnegut, Max Apple, Saul Bellow, Erica Jong, Susan Quist, Gerald Rosen, Rob Swigart, and Grace Paley. He shows how, in the absence of subject matter, these writers persist in the act of structuring—by organizing autobiography as a narrative device, ritualizing national history and popular culture, or formalizing a comic response to a new imaginative state, the state of California. Klinkowitz also considers subjects such as gender and war, which, though they cannot be represented, nevertheless exercise contraints on a writer’s intention to structure.
What emerges from Klinkowitz’s analysis is a clear sense of what today’s fiction—and fiction writing—is about. As such, Structuring the Void will prove invaluable to anyone with an interest in contemporary literature.
"An ambitious effort. This book puts the masters of European Modernism into perfect focus as inventors, propagators, and practitioners of a visual language that continues to hold sway over contemporary graphic style."—Steven Heller
"Worth the wait. . . . Margolin usefully presents what he calls the 'failed hope' of this movement in this valuable effort."—Publishers Weekly
Students played a critical role in the Sandinista struggle in Nicaragua, helping to topple the US-backed Somoza dictatorship in 1979—one of only two successful social revolutions in Cold War Latin America. Debunking misconceptions, Students of Revolution provides new evidence that groups of college and secondary-level students were instrumental in fostering a culture of insurrection—one in which societal groups, from elite housewives to rural laborers, came to see armed revolution as not only legitimate but necessary.
Drawing on student archives, state and university records, and oral histories, Claudia Rueda reveals the tactics by which young activists deployed their age, class, and gender to craft a heroic identity that justified their political participation and to help build cross-class movements that eventually paralyzed the country. Despite living under a dictatorship that sharply curtailed expression, these students gained status as future national leaders, helping to sanctify their right to protest and generating widespread outrage while they endured the regime’s repression. Students of Revolution thus highlights the aggressive young dissenters who became the vanguard of the opposition.
The culmination of more than twenty years of research by Michael Brecher and Jonathan Wilkenfeld, the book analyzes crucial themes about crisis, conflict, and war and presents systematic knowledge about more than 400 crises, thirty-one protracted conflicts and almost 900 state participants. The authors explore many aspects of conflict, including the ethnic dimension, the effect of different kinds of political regimes--notably the question whether democracies are more peaceful than authoritarian regimes, and the role of violence in crisis management. They employ both case studies and aggregate data analysis in a Unified Model of Crisis to focus on two levels of analysis--hostile interactions among states, and the behavior of decision-makers who must cope with the challenge posed by a threat to values, time pressure, and the increased likelihood that military hostilities will engulf them.
This book will appeal to scholars in history, political science, sociology, and economics as well as policy makers interested in the causes and effects of crises in international relations. The rich data sets will serve researchers for years to come as they probe additional aspects of crisis, conflict and war in international relations.
Michael Brecher is R. B. Angus Professor of Political Science, McGill University. Jonathan Wilkenfeld is Professor and Chair of the Department of Government and Politics, University of Maryland. They are the coauthors of Crises in the Twentieth Century: A Handbook of International Crisis, among other books and articles.
Early in his political career, Adolf Hitler declared the importance of what he called “an antisemitism of reason.” Determined not to rely solely on traditional, cruder forms of prejudice against Jews, he hoped that his exclusionary and violent policies would be legitimized by scientific scholarship. The result was a disturbing, and long-overlooked, aspect of National Socialism: Nazi Jewish Studies.
Studying the Jew investigates the careers of a few dozen German scholars who forged an interdisciplinary field, drawing upon studies in anthropology, biology, religion, history, and the social sciences to create a comprehensive portrait of the Jew—one with devastating consequences. Working within the universities and research institutions of the Third Reich, these men fabricated an elaborate empirical basis for Nazi antisemitic policies. They supported the Nazi campaign against Jews by defining them as racially alien, morally corrupt, and inherently criminal.
In a chilling story of academics who perverted their talents and distorted their research in support of persecution and genocide, Studying the Jew explores the intersection of ideology and scholarship, the state and the university, the intellectual and his motivations, to provide a new appreciation of the use and abuse of learning and the horrors perpetrated in the name of reason.
Connecting Cather's work to the southern literary tradition and the South of her youth
A diverse and experimental writer who lived most of her life in New York City, Willa Cather is best known for her depiction of pioneer life on the Nebraska plains. Despite Cather's association with Nebraska, however, the novelist's Virginia childhood and her southern family were deeply influential in shaping her literary imagination.
Joyce McDonald shows evidence, for example, of Cather's southern sensibility in the class consciousness and aesthetic values of her characters and in their sense of place and desire for historical continuity, a sensibility also evident in her narrative technique of weaving stories within stories and in her use of folklore. For McDonald, however, what most links Cather and her work to the South and to the southern literary tradition is her use of pastoral modes.
Beginning with an examination of Cather's Virginia childhood and the southern influences that continued to mold her during the Nebraska years, McDonald traces the effects of those influences in Cather's novels. The patterns that emerge reveal not only Cather's strong ideological connection to the pastoral but also the political position implicit in her choice of that particular mode. Further analysis of Cather's work reveals her preoccupation with hierarchical constructs and with the use and abuse of power and her interest in order, control, and possession. The Willa Cather who emerges from the pages of The Stuff of Our Forebears is not the Cather who claimed to eschew politics but a far more political novelist than has heretofore been perceived.
Hodgkins delineates how in the 1920s and 1930s, popular novels by Dorothy Sayers and high-art fiction by Jean Rhys used dress to comment wittily and bitterly on gender relations. During World War II, changes in British Vogue and compromises made by the literary journal Horizon signaled the death of modernist styles, as Elizabeth Bowen’s gender-bent wartime stories show. Then demure and reserved postwar styles—Dior’s curvy New Look, the Movement’s understated literary irony—were intertwined in the fictions of Barbara Pym and Muriel Spark, who re-dressed the novel with a vengeance. Whether fashioning detective fiction, literary impressionism, or postwar comedy, these novelists used style in every sense to redefine that famous question, “What do women want?”
Taking the position that style has a value in its own right, that language forms a major component of the story a nonfiction writer has to tell, Anderson analyzes the work of America’s foremost practitioners of New Journalism—Tom Wolfe, Truman Capote, Norman Mailer, and Joan Didion.
Anderson does for nonfiction what insightful critics have long been doing for fiction and poetry. His approach is rhetorical, and his message is that the rhetoric of Wolfe, Capote, Mailer, and Didion is a direct response to the problem of trying to convey to a general audience the sublime, inexplicable, or private and intuitive experiences that conventional rhetoric cannot evoke.
The emphasis in this book is on style, not genre, and the analysis characterizes the distinctive styles of four American writers, showing how the richness and complexity of their prose discloses an important argument about the value of language itself. Their prose is complex, nuanced, layered, affecting, always aware of itself as style. This self-consciousness, Anderson contends, prepares the reader to regard style as argument, a “tacit but powerful statement about the value of form as form, style as style.”
The Subaltern Ulysses was first published in 1994. 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.
How might an IRA bomb and James Joyce's Ulysses have anything in common? Could this masterpiece of modernism, written at the violent moment of Ireland's national emergence, actually be the first postcolonial novel? Exploring the relation of Ulysses to the colony in which it is set, and to the nation being born as the book was written, Enda Duffy uncovers a postcolonial modernism and in so doing traces another unsuspected strain within the one-time critical monolith. In the years between 1914 and 1921, as Joyce was composing his text, Ireland became the first colony of the British Empire to gain its independence in this century after a violent anticolonial war. Duffy juxtaposes Ulysses with documents and photographs from the archives of both empire and insurgency, as well as with recent postcolonial literary texts, to analyze the political unconscious of subversive strategies, twists on class and gender, that render patriarchal colonialist culture unfamiliar.
Ulysses, Duffy argues, is actually a guerrilla text, and here he shows how Joyce's novel pinpoints colonial regimes of surveillance, mocks imperial stereotypes of the "native," exposes nationalism and other chauvinistic ideologies of "imagined community" as throwbacks to the colonial ethos, and proposes versions of a postcolonial subject. A significant intervention in the massive "Joyce industry" founded on the rhetoric and aesthetics of high modernism, Duffy's insights show us not only Ulysses, but also the origins of postcolonial textuality, in a startling new way.Enda Duffy is assistant professor of English at the University of California at Santa Barbara.
Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.
Drawing on history, political science, anthropology, and philosophy, Seth interprets the debates and controversies that came to surround western education. Central among these were concerns that Indian students were acquiring western education by rote memorization—and were therefore not acquiring “true knowledge”—and that western education had plunged Indian students into a moral crisis, leaving them torn between modern, western knowledge and traditional Indian beliefs. Seth argues that these concerns, voiced by the British as well as by nationalists, reflected the anxiety that western education was failing to produce the modern subjects it presupposed. This failure suggested that western knowledge was not the universal epistemology it was thought to be. Turning to the production of collective identities, Seth illuminates the nationalists’ position vis-à-vis western education—which they both sought and criticized—through analyses of discussions about the education of Muslims and women.
Because "the other," or the object, is constructed, Rupprecht finds in narcissism the possibility of rewriting notions of identity. She then pursues this possibility through modern literary texts in which narcissism acts as a structuring principle—works by the expressionist poet Henriette Hardenberg, the American avant-garde novelist Djuna Barnes, and the surrealist writer Unica Zürn—reading each within the critical framework of the evolution of the idea of narcissism in psychoanalytic theory. All written by women, these works also raise questions of gender and sexuality. Moreover, because each of these authors belonged to or was influenced by a particular literary movement, Rupprecht's analysis advances our understanding of the poetics of these movements and of the movement of modernism itself. Underlying all is a deep engagement with psychoanalytic theory. Drawing on Freud, his contemporaries and rivals, Jacques Lacan, Melanie Klein, and many other theorists, Rupprecht interrogates preconceived notions of identity and subjectivity through her readings of the "transgressive potential" of narcissism as it is enacted in the texts under study. Bringing the works of literary modernism and psychoanalysis together in an innovative and provocative way, her book succeeds in enhancing our sense of both, and in clarifying the complex role of narcissism in our cultural narrative.
Shilyh Warren reopens this understudied period and links it to a neglected era of women's filmmaking that took place from 1920 to 1940, another key period of thinking around documentary, race, and gender. Drawing women’s cultural expression during these two explosive times into conversation, Warren reconsiders key debates about subjectivity, feminism, realism, and documentary and their lasting epistemological and material consequences for film and feminist studies. She also excavates the lost ethnographic history of women's documentary filmmaking in the earlier era and explores the political and aesthetic legacy of these films in more explicitly feminist periods like the Seventies.
Filled with challenging insights and new close readings, Subject to Reality sheds light on a profound and unexamined history of feminist documentaries while revealing their influence on the filmmakers of today.
How do aesthetic forms contribute to different kinds of cultural knowledge? Gabriele Schwab responds to this question with an analysis of the nature of subjectivity in modernist fiction. Drawing on French and Anglo-American psychoanalysis as well as reader response theory, she explores the relationship between language and subjectivity and in so doing illuminates the cultural politics and psychological functions implicit in the aesthetic practices and literary forms of modernism and postmodernism. The result of this exploration is a new understanding of the function of literature as a form of cultural knowledge.
Schwab demonstrates how literature creates a transitional space where boundaries of language and subjectivity are continually aped and reshaped on both an individual and a cultural eve. Modern and postmodern experimental texts, in particular, fulfill this function through the multifarious exploration of the boundaries of poetic language and their opening to the unconscious. Undertaking what she terms a literary ethnography of the decentered subject, Schwab examines five novels: Herman Melville's Moby-Dick, Virginia Woolfs The Waves, James Joyce's Finnegans Wake, Samuel Beckett's The Unnamable, and Thomas Pynchon's Gravity's Rainbow. Schwab demonstrates how the aesthetic figurations of unconscious experience in these texts generate new forms of literary language and an aesthetic reception that is directly relevant to an increasingly global and hybridized culture.
In her concluding chapter, which introduces the notion of “textual ecologies,” Schwab analyzes the literary subjectivity of “transitional texts” in light of such contemporary theories as systems theory, cybernetics, and the new physics. From this perspective, such texts not only reflect cultural practices but take part in shaping their change and innovation.
Irr highlights works by Richard Wright, John Dos Passos, Nathanael West, and others to uncover the complex relationship between American anti-communism and communist anti-Americanism. In an unprecedented move, she extends her inquiry to the work of Canadian intellectuals such as Dorothy Livesay and Hugh MacLennan to reveal the important yet overlooked fact that the territory at the border of the United States and Canada provided a vital contact zone and transnational “home” for leftist thinkers. Attending to intersections of race, ethnicity, and gender, Irr illustrates the ways dissenting writers made culture actively respond to the political crises of the Great Depression and questioned the nature of what it means to be “American.”
Drawing on insights from postcolonial and American studies and taking into account the intellectual and cultural dimensions of leftist politics, The Suburb of Dissent is the first study of the 1930s to bring together U.S. and Canadian writings. In doing so, it reveals how the unique culture of the left contributed to North American history at this critical juncture and beyond.
Suburban Steel chronicles the rise and fall of the Lustron Corporation, once the largest and most completely industrialized housing company in U.S. history. Beginning in 1947, Lustron manufactured porcelain-enameled steel houses in a one-million-square-foot plant in Columbus, Ohio. With forty million dollars in federal funds and support from the highest levels of the Truman administration, the company planned to produce one hundred houses per day, each neatly arranged on specially designed tractor-trailers for delivery throughout the country. Lustron’s unprecedented size and scope of operations attracted intense scrutiny. The efficiencies of uninterrupted production, integrated manufacturing, and economies of scale promised to lead the American housing industry away from its decentralized, undercapitalized, and inefficient past toward a level of rationalization and organization found in other sectors of the industrial economy.
The company’s failure marked a watershed in the history of the American housing industry. Although people did not quit talking about industrialized housing, enthusiasm for its role in the transformation of the housing industry at large markedly waned. Suburban Steel considers Lustron’s magnificent failure in the context of historical approaches to the nation’s perpetual shortage of affordable housing, arguing that had Lustron’s path not been interrupted, affordable and desirable housing for America’s masses would be far more prevalent today.
This book seeks to explore how Barbara Pym subverts the discourse of the romance novel through her use of food, clothes, heroine and hero characterizations, and marriage customs.
With this important new book, Susan Suleiman lays the foundation for a postmodern feminist poetics and theory of the avant-garde. She shows how the figure of Woman, as fantasy, myth, or metaphor, has functioned in the work of male avant-garde writers and artists of this century. Focusing also on women's avant-garde artistic practices, Suleiman demonstrates how to read difficult modern works in a way that reveals their political as well as their aesthetic impact.
Suleiman directly addresses the subversive intent of avant-garde movements from Surrealism to postmodernism. Through her detailed readings of provocatively transgressive works by André Breton, Georges Bataille, Roland Barthes, Alain Robbe-Grillet, Marcel Duchamp, Max Ernst, and others, Suleiman demonstrates the central role of the female body in the male erotic imagination and illuminates the extent to which masculinist assumptions have influenced modern art and theory. By examining the work of contemporary women avantgarde artists and theorists--including Hélène Cixous, Marguerite Duras, Monique Wittig, Luce Irigaray, Angela Carter, Jeanette Winterson, Leonora Carrington, Barbara Kruger, Jenny Holzer, and Cindy Sherman--Suleiman shows the political power of feminist critiques of patriarchal ideology, and especially emphasizes the power of feminist humor and parody.
Central to Suleiman's revisionary theory of the avant-garde is the figure of the playful, laughing mother. True to the radically irreverent spirit of the historical avant-gardes and their postmodernist successors, Suleiman's laughing mother embodies the need for a link between symbolic innovation and political and social change.
Though Weil published little during her life, after her death, thanks largely to the efforts of Albert Camus, hundreds of pages of her manuscripts were published to critical and popular acclaim. While many seekers have been attracted to Weil’s religious thought, Robert Zaretsky gives us a different Weil, exploring her insights into politics and ethics, and showing us a new side of Weil that balances her contradictions—the rigorous rationalist who also had her own brand of Catholic mysticism; the revolutionary with a soft spot for anarchism yet who believed in the hierarchy of labor; and the humanitarian who emphasized human needs and obligations over human rights. Reflecting on the relationship between thought and action in Weil’s life, The Subversive Simone Weil honors the complexity of Weil’s thought and speaks to why it matters and continues to fascinate readers today.
Subaltern studies, the study of non-elite or underrepresented people, have revolutionized the writing of Middle Eastern history. Subversives and Mavericks in the Muslim Mediterranean represents the next step in this transformation. The book explores the lives of eleven nonconformists who became agents of political and social change, actively organizing new forms of resistance—against either colonial European regimes or the traditional societies in which they lived—that disrupted the status quo, in some cases, with dramatic results. These case studies highlight cross-border connections in the Mediterranean world, exploring how these channels were navigated.
Chapters in the book examine the lives of subversives and mavericks, such as Tawhida ben Shaykh, the first Arab woman to receive a medical degree; Mokhtar al-Ayari, a radical Tunisian labor leader; Nazli Hanem, Kmar Bayya, and Khiriya bin Ayyad, three aristocractic women who resisted the patriarchal structures of their societies by organizing and participating in intellectual salons for men and women and advocating social reform; Qaid Najim al-Akhsassi, an ex-slave and military officer, who fought against French and Spanish colonial expansion; and Boubeker al-Ghandjawi, a nearly illiterate trader who succeeded, though his diverse connections, in establishing important relations between the Moroccan sultan and the representative of the British government. Although based on individual and local perspectives, Subversives and Mavericks in the Muslim Mediterranean reveals new and unrecognized trans-local connections across the Muslim world, illuminating our understanding of these societies beyond narrow elite circles.
Traditional assessments of wartime strategy focus on the relationship between the military and civilians, but Bakich argues that we must take into account the information flow patterns among top policy makers and all national security organizations. By examining the fate of American military and diplomatic strategy in four limited wars, Bakich demonstrates how not only the availability and quality of information, but also the ways in which information is gathered, managed, analyzed, and used, shape a state’s ability to wield power effectively in dynamic and complex international systems.
Utilizing a range of primary and secondary source materials, Success and Failure in Limited War makes a timely case for the power of information in war, with crucial implications for international relations theory and statecraft.
Even nominal baseball fans will enjoy reading about legendary players, teams, and personalities that emerged in the 1982 season: the year Ricky Henderson stole 130 bases; Reggie Jackson led the league in home runs; and Cal Ripken Jr. began his remarkable playing streak. Readers will also enjoy the cultural references, including the Pac-Man craze, a chart-topping album by Rush, and the “Light Beer Wars” waged by Anheuser-Busch and the Miller Brewing Company through a series of humorous TV commercials featuring well-loved professional sports figures.
Moving between two timelines, Mutel pairs chapters about a single year in her Iowa woodland with chapters about her life as a fledgling and then professional student of nature. Stories of her childhood ramblings in Wisconsin and the solace she found in the Colorado mountains during early adulthood are merged with accounts of global environmental dilemmas that have redefined nature during her lifespan. Interwoven chapters bring us into her woodland home to watch nature’s cycles of life during a single year, 2012, when weather records were broken time and time again. Throughout, in a straightforward manner for a concerned general audience, Mutel integrates information about the science of climate change and its dramatic alteration of the planet in ways that clarify its broad reach, profound impact, and seemingly relentless pace.
It is not too late, she informs us: we can still prevent the most catastrophic changes. We can preserve a world full of biodiversity, one that supports human lives as well as those of our myriad companions on this planet. In the end, Mutel offers advice about steps we can all take to curb our own carbon emissions and strategies we can suggest to our policy-makers.
Annette White-Parks offers the first full-length biography of the woman now remembered as North America's first published Asian writer. White-Parks reveals an author who defied the in vogue style of "yellow peril" literature to show Chinatowns and their inhabitants as complex, feeling human beings. Her insider's sympathy focused in particular on Chinese American women and children. Confronted with social divisions and discrimination, Sui Sin Far experimented with trickster characters and irony, sharing the coping mechanisms used by other writers who struggled to overcome the marginalization forced on them because of their race, gender, or class.
A suicide scandal in Shanghai reveals the social fault lines of democratic visions in China’s troubled Republic in the early 1920s.
On September 8, 1922, the body of Xi Shangzhen was found hanging in the Shanghai newspaper office where she worked. Although her death occurred outside of Chinese jurisdiction, her US-educated employer, Tang Jiezhi, was kidnapped by Chinese authorities and put on trial. In the unfolding scandal, novelists, filmmakers, suffragists, reformers, and even a founding member of the Chinese Communist Party seized upon the case as emblematic of deep social problems. Xi’s family claimed that Tang had pressured her to be his concubine; his conviction instead for financial fraud only stirred further controversy.
The creation of a republic ten years earlier had inspired a vision of popular sovereignty and citizenship premised upon gender equality and legal reform. After the quick suppression of the first Chinese parliament, commercial circles took up the banner of democracy in their pursuit of wealth. But, Bryna Goodman shows, the suicide of an educated “new woman” exposed the emptiness of republican democracy after a flash of speculative finance gripped the city. In the shadow of economic crisis, Tang’s trial also exposed the frailty of legal mechanisms in a political landscape fragmented by warlords and enclaves of foreign colonial rule.
The Suicide of Miss Xi opens a window onto how urban Chinese in the early twentieth century navigated China’s early passage through democratic populism, in an ill-fated moment of possibility between empire and party dictatorship. Xi Shangzhen became a symbol of the failures of the Chinese Republic as well as the broken promises of citizen’s rights, gender equality, and financial prosperity betokened by liberal democracy and capitalism.
June 12, 1952—only a local sportswriter showed up at the Eau Claire airport to greet a newly signed eighteen-year-old shortstop from Alabama toting a cardboard suitcase. "I was scared as hell," said Henry Aaron, recalling his arrival as the new recruit on the city’s Class C minor league baseball team.
Forty-two years later, as Aaron approached the stadium where the Eau Claire Bears once played, an estimated five thousand people surrounded a newly raised bronze statue of a young "Hank" Aaron at bat. "I had goosebumps," he said later. "A lot of things happened to me in my twenty-three years as a ballplayer, but nothing touched me more than that day in Eau Claire." For the people of Eau Claire, Aaron’s summer two years before his Major League debut with the Milwaukee Braves symbolizes a magical time, when baseball fans in a small city in northern Wisconsin could live a part of the dream.
A Sun within a Sun is a sustained poetic reflection on the enterprise of poetry, on what poetry is and might be, not only for poet and theorist but also for reader, critic, teacher, and student. It sees poetry as life at its most genuine.
Using Baudelaire and Mallarmé as principal examples, but drawing on a wide range of poets and thinkers, from Greek mythology to Poe, Rimbaud, Rilke, and Blake; from Nietzsche, Gilles Deleuze, and Italo Calvino to William James and Henry Miller, Claire Chi-ah Lyu challenges contemporary poetic theory, using precise and acute deconstruction of poetic imagery to reconstruct language so that it celebrates both meaning and beauty.
<I>A Sun within a Sun</I> explores the notions of lightness and weight, discipline and indulgence, freedom and loss of will that are inherent in the poetic enterprise. It poses that lightness, discipline, freedom, and risk are essential for an approach to the enigma of beauty through an elegant shaping of form that holds true not only in poetry but also in pure science and even fashion. Poetry is a language within a language, a heightened and intense awareness of what words mean and what they can do, at its best creating an intensity of a sun within a sun. The poet and reader of poetry must take the risk Icarus took of approaching the sun, for without the risk there is no fulfillment.
A Sun within a Sun seeks a shaping of form and content that discovers poetry as power, as a practice of life that honors and makes possible both thought and feeling.
Everett bought movie reel film in bulk from a mail-order house, rolled his own film, and developed it in a closet at home, but he never had the money to print his photographs. More than two thousand negatives stayed in a box while he married, raised a family, and worked as an electrical engineer in the Twin Cities. When he became ill with cancer in the fall of 2002—sixty years after he had developed the last of his bulk film—Everett opened his time capsule and printed the images from his youth. He died in 2003, having brought his childhood town back to life just as he was leaving it.
A sense of peace radiates from these images. Whether skinny-dipping in the Turkey River, wheelbarrow-racing, threshing oats, milking cows, visiting with relatives after church, or hanging out at the drugstore or the movies, Ridgeway’s hardworking citizens are modest and trusting and luminous in their graceful harmony and their unguarded affection for each other. Visiting the town in 2006 as he was writing the text to accompany these photographs, Jim Heynen crafted vignettes that perfectly complement these rediscovered images by blending fact and fiction to give context and voice to Ridgeway’s citizens.
What doesn’t get mentioned in all this? The fact that the federal government helped create the obesity crisis in the first place—especially where it is strikingly acute, among urban African-American communities. Supersizing Urban America reveals the little-known story of how the U.S. government got into the business of encouraging fast food in inner cities, with unforeseen consequences we are only beginning to understand. Chin Jou begins her story in the late 1960s, when predominantly African-American neighborhoods went from having no fast food chain restaurants to being littered with them. She uncovers the federal policies that have helped to subsidize that expansion, including loan guarantees to fast food franchisees, programs intended to promote minority entrepreneurship, and urban revitalization initiatives. During this time, fast food companies also began to relentlessly market to urban African-American consumers. An unintended consequence of these developments was that low-income minority communities were disproportionately affected by the obesity epidemic.
In the first book about the U.S. government’s problematic role in promoting fast food in inner-city America, Jou tells a riveting story of the food industry, obesity, and race relations in America that is essential to understanding health and obesity in contemporary urban America.
We live in a world shaped by secularism—the separation of numinous power from political authority and religion from the political, social, and economic realms of public life. Not only has progress toward modernity often been equated with secularization, but when religion is admitted into modernity, it has been distinguished from superstition. That such ideas are continually contested does not undercut their extraordinary influence.
These divisions underpin this investigation of the role of religion in the construction of modernity and political power during the Nanjing Decade (1927–1937) of Nationalist rule in China. This book explores the modern recategorization of religious practices and people and examines how state power affected the religious lives and physical order of local communities. It also looks at how politicians conceived of their own ritual role in an era when authority was meant to derive from popular sovereignty. The claims of secular nationalism and mobilizational politics prompted the Nationalists to conceive of the world of religious association as a dangerous realm of “superstition” that would destroy the nation. This is the first “superstitious regime” of the book’s title. It also convinced them that national feeling and faith in the party-state would replace those ties—the second “superstitious regime.”
A data-rich examination of the US Supreme Court's unprecedented detachment from the democratic processes that buttress its legitimacy.
Today’s Supreme Court is unlike any other in American history. This is not just because of its jurisprudence but also because the current Court has a tenuous relationship with the democratic processes that help establish its authority. Historically, this “democracy gap” was not nearly as severe as it is today. Simply put, past Supreme Courts were constructed in a fashion far more in line with the promise of democracy—that the people decide and the majority rules.
Drawing on historical and contemporary data alongside a deep knowledge of court battles during presidencies ranging from FDR to Donald Trump, Kevin J. McMahon charts the developments that brought us here. McMahon offers insight into the altered politics of nominating and confirming justices, the shifting pool of Supreme Court hopefuls, and the increased salience of the Court in elections. A Supreme Court Unlike Any Other is an eye-opening account of today’s Court within the context of US history and the broader structure of contemporary politics.
What it is like to be an animal? Ron Broglio wants to know from the inside, from underneath the fur and feathers. In examining this question, he bypasses the perspectives of biology or natural history to explore how one can construct an animal phenomenology, to think and feel as an animal other—or any other.
Until now phenomenology has grappled with how humans are embedded in their world. According to philosophical tradition, animals do not practice the self-reflexive thought that provides humans with depth of being. Without human interiority, philosophers have believed, animals live on the surface of things. But, Broglio argues, the surface can be a site of productive engagement with the world of animals, and as such he turns to humans who work with surfaces: contemporary artists.
Taking on the negative claim of animals living only on the surface and turning the premise into a positive set of possibilities for human–animal engagement, Broglio considers artists—including Damien Hirst, Carolee Schneemann, Olly and Suzi, and Marcus Coates—who take seriously the world of the animal on its own terms. In doing so, these artists develop languages of interspecies expression that both challenge philosophy and fashion new concepts for animal studies.
Duke University Press Scholars of Color First Book Award recipient
In the decades between the two World Wars, Greek writers and artists adopted surrealism both as an avant-garde means of overturning the stifling traditions of their classical heritage and also as a way of responding to the extremely unstable political situation in their country. Despite producing much first-rate work throughout the rest of the twentieth century, Greek surrealists have not been widely read outside of Greece. This volume seeks to remedy that omission by offering authoritative translations of the major works of the most important Greek surrealist writers.
Nikos Stabakis groups the Greek surrealists into three generations: the founders (such as Andreas Embirikos, Nikos Engonopoulos, and Nicolas Calas), the second generation, and the Pali Group, which formed around the magazine Pali. For each generation, he provides a very helpful introduction to the themes and concerns that animate their work, as well as concise biographies of each writer. Stabakis anthologizes translations of all the key surrealist works of each generation—poetry, prose, letters, and other documents—as well as a selection of rarer texts. His introduction to the volume places Greek surrealism within the context of the international movement, showing how Greek writers and artists used surrealism to express their own cultural and political realities.
This volume includes photographs of the poets and reproductions of paintings by Ernst, Dali, Tanguy, and others.
Beginning in Paris in the 1920s, women poets, essayists, painters, and artists in other media have actively collaborated in defining and refining surrealism's basic project—achieving a higher, open, and dynamic consciousness, from which no aspect of the real or the imaginary is rejected. Indeed, few artistic or social movements can boast as many women forebears, founders, and participants—perhaps only feminism itself. Yet outside the movement, women's contributions to surrealism have been largely ignored or simply unknown.
This anthology, the first of its kind in any language, displays the range and significance of women's contributions to surrealism. Letting surrealist women speak for themselves, Penelope Rosemont has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the movement's origins. She then organizes the book into historical periods ranging from the 1920s to the present, with introductions that describe trends in the movement during each period. Rosemont also prefaces each surrealist's work with a brief biographical statement.
On the road to Survival City, Tom Vanderbilt maps the visible and invisible legacies of the cold war, exhuming the blueprints for the apocalypse we once envisioned and chronicling a time when we all lived at ground zero. In this road trip among ruined missile silos, atomic storage bunkers, and secret test sites, a lost battleground emerges amid the architecture of the 1950s, accompanied by Walter Cotten’s stunning photographs. Survival City looks deep into the national soul, unearthing the dreams and fears that drove us during the latter half of the twentieth century.
“A crucial and dazzling book, masterful, and for me at least, intoxicating.”—Dave Eggers
“A genuinely engaging book, perhaps because [Vanderbilt] is skillful at conveying his own sense of engagement to the reader.”—Los Angeles Times
“A retracing of Dr. Strangelove as ordinary life.”—Greil Marcus, Bookforum
Co-winner of the Yad Vashem International Book Prize for Holocaust Research
The forgotten story of 200,000 Polish Jews who escaped the Holocaust as refugees stranded in remote corners of the USSR.
Between 1940 and 1946, about 200,000 Jewish refugees from Poland lived and toiled in the harsh Soviet interior. They endured hard labor, bitter cold, and extreme deprivation. But out of reach of the Nazis, they escaped the fate of millions of their coreligionists in the Holocaust.
Survival on the Margins is the first comprehensive account in English of their experiences. The refugees fled Poland after the German invasion in 1939 and settled in the Soviet territories newly annexed under the Molotov-Ribbentrop Pact. Facing hardship, and trusting little in Stalin, most spurned the offer of Soviet citizenship and were deported to labor camps in unoccupied areas of the east. They were on their own, in a forbidding wilderness thousands of miles from home. But they inadvertently escaped Hitler’s 1941 advance into the Soviet Union. While war raged and Europe’s Jews faced genocide, the refugees were permitted to leave their settlements after the Soviet government agreed to an amnesty. Most spent the remainder of the war coping with hunger and disease in Soviet Central Asia. When they were finally allowed to return to Poland in 1946, they encountered the devastation of the Holocaust, and many stopped talking about their own ordeals, their stories eventually subsumed within the central Holocaust narrative.
Drawing on untapped memoirs and testimonies of the survivors, Eliyana Adler rescues these important stories of determination and suffering on behalf of new generations.
Unparalleled in scope, Survivors begins with the Cambodians' experiences under the brutal Khmer Rouge regime, following them through escape to refugee camps in Thailand and finally to the United States, where they try to build new lives in the wake of massive trauma. Their struggle becomes primarily economic as they continue to negotiate new cultures and deal with rapidly changing gender and intergenerational relations within their own families. Poverty, crime, and racial discrimination all have an impact on their experiences in America, and each is examined in depth.
Although written as a history, this is a thoroughly multidisciplinary study, and Chan makes use of research from anthropology, sociology, psychology, medicine, social work, linguistics and education. She also captures the perspective of individual Cambodians. Drawing on interviews with more than fifty community leaders, a hundred government officials, and staff members in volunteer agencies, Survivors synthesizes the literature on Cambodian refugees, many of whom come from varying socioeconomic backgrounds.
A major scholarly achievement, Survivors is unique in the Asian American canon for its memorable presentation of cutting-edge research and its interpretation of both sides of the immigration process.
Analyzing plays from the early Trifles (1916) through Springs Eternal (1943) and the undated, incomplete Wings, author Emeline Jouve illustrates the way that Glaspell’s dramas addressed issues of sexism, the impact of World War I on American values, and the relationship between individuals and their communities, among other concerns. Jouve argues that Glaspell turns the playhouse into a courthouse, putting the hypocrisy of American democracy on trial. In staging rebels fighting for their rights in fictional worlds that reflect her audience’s extradiegetic reality, she explores the strategies available to individuals to free themselves from oppression. Her works envisage a better future for both her fictive insurgents and her spectators, whom she encourages to consider which modes of revolt are appropriate and effective for improving the society they live in. The playwright defines social reform in terms of collaboration, which she views as an alternative to the dominant, alienating social and political structures. Not simply accusing but proposing solutions in her plays, she wrote dramas that enacted a positive revolt.
A must for students of Glaspell and her contemporaries, as well as scholars of American theatre and literature of the first half of the twentieth century.
While known primarily as a cultural critic and novelist, Sontag was also a filmmaker, stage director, and dramatist. It was her status as a pop icon that was unusual for an American intellectual: she was filmed by Andy Warhol and Woody Allen, photographed by Annie Leibovitz and Diane Arbus, and her likeness adorned advertisements for Absolut vodka. Drawing on newly available sources, including interviews with Nadine Gordimer, Robert Wilson, and Sontag’s son, David Rieff, as well as on myriad interviews given by Sontag and her extensive correspondence with her friend and publisher Roger Straus, Schreiber explores the roles that Sontag played in influencing American public cultural and political conversations.
The interviews that make up the book were conducted in 1987, when Italian journalist Leopoldina Pallotta della Torre met the seventy-three-year-old Duras at her Paris flat and convinced her to sit for a series of conversations. The resulting book was published in Italian in 1989, but it somehow failed to attract a French publisher, and it was quickly forgotten. Nearly a quarter of a century later, however, the book was rediscovered and translated into French, and, it has now become a sensation. In its revealing pages, Duras speaks with extraordinary freedom about her life as a writer, her relationship to cinema, her friendship with Mitterand , her love of Chekhov and football, and, perhaps most significantly, her childhood in pre-war Vietnam, the experiences that propelled her most famous novel, The Lover.
A true literary event, finally available in English, The Suspended Passion is a remarkable document of an extraordinary literary life.
To reclaim a sense of hope for the future, German activists in the late twentieth century engaged ordinary citizens in innovative projects that resisted alienation and disenfranchisement.
By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism.
Not, however, in West Germany. Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politics—a society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. Berlin’s History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable.
A rigorous but inspiring tale of hope in action, Sustainable Utopias makes the case that it is still worth believing in human creativity and the labor of citizenship.
The poet Larry Eigner (1927–1996) was a key figure in New American poetry, which grew out of the Black Mountain School and San Francisco Renaissance, and a major influence on the Language poets. Eigner also had cerebral palsy as the result of an accident at birth. It is fortuitous that the poet lived his life in two locations vibrant in both poetics and disability activism. Except for brief periods attending camp and school, he lived with his parents in Swampscott, Massachusetts, until the age of 51. Later, he moved to Berkeley, California, at the height of the disability rights movement. In the 1950s, Eigner attended Camp Jened, which later became famous in the film Crip Camp.
Bartlett’s biography covers every significant phase of Eigner’s life: his childhood and young adulthood when he began typing poems with one finger on the manual typewriter that was a bar mitzvah gift; his first publications and the maturation of his poetic interests through correspondence with poets of the era; and after his move to Berkeley, the ever-expanding circle of friends, poets, caretakers, and collaborators he established there. The result is a deeply insightful account of an utterly distinctive voice whose influence widens and deepens with each new generation that encounters him.
Combining contemporary case studies with comprehensive analyses of advertisements, critical responses, and censorship records, Larsson deconstructs the complexities and paradoxes of the Swedish porn scene. Looking as closely at the exhibition spaces where porn was seen as at the productions themselves and their audiences, Larsson reveals the conditions and social changes that allowed pornography in Sweden to flourish in the period.
Drucker shows that artists today are aware of working within the ideologies of mainstream culture and have replaced avant-garde defiance with eager complicity. Finding their materials at flea markets or exploring celebrity culture, contemporary artists have created a vibrantly participatory movement that exudes enthusiasm and affirmation—all while critics continue to cling to an outmoded vocabulary of opposition and radical negativity that defined modernism's avant-garde. At the cutting edge of new media research, Drucker surveys a wide range of exciting contemporary artists, demonstrating their clear departure from the past and petitioning viewers and critics to shift their terms and sensibilities as well. Sweet Dreams is a testament to the creative processes and self-conscious heterogeneity of art today as well as a revolutionary effort to solicit collaboration that will encourage the production of imaginative thought and contribute to contemporary life.
The Sweetness of Freedom presents an eclectic grouping of late nineteenth- and twentieth-century immigrants' narratives and the personal artifacts, historical documents, and photographs these travelers brought on their journeys to Michigan. Most of the oral histories in this volume are based on interviews conducted with the immigrants themselves.
Some of the immigrants presented here hoped to gain better education and jobs. Others—refugees—fled their homelands because of war, poverty, repression, religious persecution, or ethnic discrimination. All dreamt of freedom and opportunity. They tell why they left their homelands, why they chose to settle in Michigan, and what they brought or left behind. Some wanted to preserve their heritage, religious customs, traditions, and ethnic identity. Others wanted to forget past conflicts and lost family members. Their stories reveal how they established new lives far away from home, how they endured homesickness and separation, what they gave up and what they gained.
A dance contest winner by 14, Norma Miller became a member of Herbert White's Lindy Hoppers and a celebrated Savoy Ballroom Lindy Hop champion. Swingin' at the Savoy chronicles a significant period in American cultural history and race relations, as it glorifies the home of the Lindy Hop and he birthplace of memorable dance hall fads. Miller shares fascinating anecdotes about her youthful encounters with many of the greatest jazz legends in music history, including Ella Fitzgerald, Count Basie, Benny Goodman, Billie Holiday, Artie Shaw, Duke Ellington, Ethel Waters, and even boxer Joe Louis. Readers will experience the legend of the celebrated Harlem ballroom and the phenomenal Swing generation that changed music and dance history forever.
Yet it was African American culture, Dinerstein argues, that ultimately provided the means of aesthetic adaptation to the accelerated tempo of modernity. Drawing on a legacy of engagement with and resistance to technological change, with deep roots in West African dance and music, black artists developed new cultural forms that sought to humanize machines. In "The Ballad of John Henry," the epic toast "Shine," and countless blues songs, African Americans first addressed the challenge of industrialization. Jazz musicians drew on the symbol of the train within this tradition to create a set of train-derived aural motifs and rhythms, harnessing mechanical power to cultural forms. Tap dance and the lindy hop brought machine aesthetics to the human body, while the new rhythm section of big band swing mimicked the industrial soundscape of northern cities. In Dinerstein's view, the capacity of these artistic innovations to replicate the inherent qualities of the machine-speed, power, repetition, flow, precision-helps explain both their enormous popularity and social function in American life.
Art is politics and politics is art in this study of post–World War I caricature art in Egypt and Egyptian politics. This book explores the complex meaning and significance of caricature art drawn to support the ascendant Egyptian Wafdpolitical party and its push for independence from British colonial control. The works of previously neglected Egyptian lithographers are also explored, especially those who adopted sophisticated European techniques while experimenting with a variety of new styles during a remarkable period in Egyptian history.
Caricature art by Wafd party artists was almostsui generis. It is distinguished especially by its sincere use of iconic, folkloric imagery, intended to rally nationalistic sentiments among an emerging Egyptian electorate that included many nonliterate citizens. Cannon’s research breathes new life into an influential yet largely forgotten artistic movement in Egypt, one that deserves recognition for its contribution to Egypt’s share of modern Middle East cultural history. Includes full color reproductions.
Can music be political? Germans have long claimed the symphony as a pillar of their modern national culture. By 1900, the critical discourse on music, particularly symphonies, rose to such prominence as to command front-page news. With the embrace of the Great War, the humiliation of defeat, and the ensuing economic turmoil, music evolved from the most abstract to the most political of the arts. Even Goebbels saw the symphony as a tool of propaganda. More than composers or musicians, critics were responsible for this politicization of music, aspiring to change how music was heard and understood. Once hailed as a source of individual heroism, the symphony came to serve a communal vision.
Karen Painter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of serious music. Her analysis draws on a vast collection of writings on the symphony, particularly those of Mahler and Bruckner, to offer compelling evidence that music can and did serve ideological ends. She traces changes in critical discourse that reflected but also contributed to the historical conditions of the fin de siècle, World War I, and the Nazi regime.
Symptoms of the Self offers the first full study of the stage consumptive. In the nineteenth and early twentieth centuries in France, Britain, and North America, tuberculosis was a leading killer. Its famous dramatic and operatic victims—Marguerite Gautier in La Dame aux Camélias and her avatar Violetta in La Traviata, Mimì in La Bohème, Little Eva in Uncle Tom’s Cabin, and Edmund Tyrone in Long Day’s Journey into Night, to name but a few—are among the most iconic figures of the Western stage. Its classic symptoms, the cough and the blood-stained handkerchief, have become global performance shorthand for life-threatening illness.
The consumptive character became a vehicle through which standards of health, beauty, and virtue were imposed; constructions of class, gender, and sexuality were debated; the boundaries of nationhood were transgressed or maintained; and an exceedingly fragile whiteness was held up as a dominant social ideal. By telling the story of tuberculosis on the transatlantic stage, Symptoms of the Self uncovers some of the wellsprings of modern Western theatrical practice—and of ideas about the self that still affect the way human beings live and die.
The Synchronized Society traces the history of the synchronous broadcast experience of the twentieth century and the transition to the asynchronous media that dominate today. Broadcasting grew out of the latent desire by nineteenth-century industrialists, political thinkers, and social reformers to tame an unruly society by controlling how people used their time. The idea manifested itself in the form of the broadcast schedule, a managed flow of information and entertainment that required audiences to be in a particular place – usually the home – at a particular time and helped to create “water cooler” moments, as audiences reflected on their shared media texts. Audiences began disconnecting from the broadcast schedule at the end of the twentieth century, but promoters of social media and television services still kept audiences under control, replacing the schedule with surveillance of media use. Author Randall Patnode offers compelling new insights into the intermingled roles of broadcasting and industrial/post-industrial work and how Americans spend their time.
Syncopations is an analysis of the sustaining vitality behind contemporary American poetry from 1975 to the present day by one of the most astute observers and critics in the field. The 12 essays reflect Jed Rasula’s nearly 30 years of advocacy on behalf of “opening the field” of American poetry.
From the Beats and the Black Mountain poets in the 1950s and 1960s to the impact of language poetry, the specter of an avant-garde has haunted the administrative centers of poetic conservatism. But the very concept of avant-garde is misleading, implying organized assault. Incentives for change can be traced to other factors, including the increased participation of women, critical theory’s self-reflection, and a growing interest in the book as a unit of composition. Syncopations addresses these and other issues evident in the work of such poets and critics as Clayton Eshleman, Marjorie Perloff, Ronald Johnson, Clark Coolidge, Nathaniel Mackey, and Robin Blaser. Its chapters range in modes and include close readings, sociological analysis, philosophical-aesthetic meditations, and career appraisals.
By examining both exemplary innovators and the social context in which innovation is either resisted, acclaimed, or taken for granted, Rasula delivers an important conceptual chronicle of the promise of American poetry.
How artists challenged a military dictatorship through mass print technologies in 1970s and 1980s São Paulo.
Throughout the 1970s and into the 1980s, during Brazil's military dictatorship, artists shifted their practices to critique the government and its sanitized images of Brazil, its use of torture, and its targeted persecutions. Mari Rodríguez Binnie's The São Paulo Neo-Avant-Garde examines these artworks and their engagement with politics and mainstream art institutions and practices.
As Binnie skillfully shows, artists appropriated processes like photocopy, offset lithography, and thermal and heliographic printing, making newly available technologies of mass production foundational to their work of resistance against both the dictatorship and the established art world. Often working collaboratively, these artists established alternative networks of exchange locally and internationally to circulate their work. As democracy was reestablished in Brazil, and in the decades that followed, their works largely fell out of sight. Here, in the first English-language book to focus entirely on conceptual practices in São Paulo in the 1970s and 1980s, Binnie unearths a scene critical to the development of contemporary Brazilian Art.
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