A SCHOLARLY BOOK REPOSITORY122 start with U start with U
For twenty years Avital Ronell has stood at the forefront of the confrontation between literary study and European philosophy. She has tirelessly investigated the impact of technology on thinking and writing, with groundbreaking work on Heidegger, dependency and drug rhetoric, intelligence and artificial intelligence, and the obsession with testing. Admired for her insights and breadth of field, she has attracted a wide readership by writing with guts, candor, and wit.
Coyly alluding to Nietzsche’s “gay science,” The ÜberReader presents a solid introduction to Avital Ronell’s later oeuvre. It includes at least one selection from each of her books, two classic selections from a collection of her early essays (Finitude’s Score), previously uncollected interviews and essays, and some of her most powerful published and unpublished talks. An introduction by Diane Davis surveys Ronell’s career and the critical response to it thus far.
With its combination of brevity and power, this Ronell “primer” will be immensely useful to scholars, students, and teachers throughout the humanities, but particularly to graduate and undergraduate courses in contemporary theory.
Mayer interviewed ex-landlords, land expropriators, politicians, government bureaucrats, intellectuals, peasant leaders, activists, ranchers, members of farming families, and others. Weaving their impassioned recollections with his own commentary, he offers a series of dramatic narratives, each one centered around a specific instance of land expropriation, collective enterprise, and disillusion. Although the reform began with high hopes, it was quickly complicated by difficulties including corruption, rural and urban unrest, fights over land, and delays in modernization. As he provides insight into how important historical events are remembered, Mayer re-evaluates Peru’s military government (1969–79), its audacious agrarian reform program, and what that reform meant to Peruvians from all walks of life.
Ukrainian nationalism made worldwide news after the Euromaidan revolution and the outbreak of the Russo-Ukrainian war in 2014. Invoked by regional actors and international commentators, the “integral” Ukrainian nationalism of the 1930s has moved to the center of debates about Eastern Europe, but the history of this divisive ideology remains poorly understood.
This timely book by Trevor Erlacher is the first English-language biography of the doctrine’s founder, Dmytro Dontsov (1883–1973), the “spiritual father” of the Organization of Ukrainian Nationalists. Organizing his research of the period around Dontsov’s life, Erlacher has written a global intellectual history of Ukrainian integral nationalism from late imperial Russia to postwar North America, with relevance for every student of the history of modern Europe and the diaspora.
Thanks to the circumstances of Dontsov’s itinerant, ninety-year life, this microhistorical approach allows for a geographically, chronologically, and thematically broad yet personal view on the topic. Dontsov shaped and embodied Ukrainian politics and culture as a journalist, diplomat, literary critic, publicist, and ideologue, progressing from heterodox Marxism, to avant-garde fascism, to theocratic traditionalism.
Drawing upon archival research in Ukraine, Poland, and Canada, this book contextualizes Dontsov’s works, activities, and identity formation diachronically, reconstructing the cultural, political, urban, and intellectual milieus within which he developed and disseminated his worldview.
In 1990, months before crowds in Moscow and other major cities dismantled their monuments to Lenin, residents of the western Ukrainian city of Lviv toppled theirs. William Jay Risch argues that Soviet politics of empire inadvertently shaped this anti-Soviet city, and that opposition from the periphery as much as from the imperial center was instrumental in unraveling the Soviet Union.
Lviv’s borderlands identity was defined by complicated relationships with its Polish neighbor, its imperial Soviet occupier, and the real and imagined West. The city’s intellectuals—working through compromise rather than overt opposition—strained the limits of censorship in order to achieve greater public use of Ukrainian language and literary expression, and challenged state-sanctioned histories with their collective memory of the recent past. Lviv’s post–Stalin-generation youth, to which Risch pays particular attention, forged alternative social spaces where their enthusiasm for high culture, politics, soccer, music, and film could be shared.
The Ukrainian West enriches our understanding not only of the Soviet Union’s postwar evolution but also of the role urban spaces, cosmopolitan identities, and border regions play in the development of nations and empires. And it calls into question many of our assumptions about the regional divisions that have characterized politics in Ukraine. Risch shines a bright light on the political, social, and cultural history that turned this once-peripheral city into a Soviet window on the West.
Unaffordable covers, in a conversational style punctuated by apt examples, topics ranging from health insurance, pharmaceutical pricing, and physician training to health maintenance organizations and hospital networks. Along the way, Engel introduces approaches that other nations have taken in organizing and paying for healthcare and offers insights on ethical quandaries around end-of-life decisions, neonatal care, life-sustaining treatments, and the limits of our ability to define death. While describing the political origins of many of the federal and state laws that govern our healthcare system today, he never loses sight of the impact that healthcare delivery has on our wallets and on the balance sheets of hospitals, doctors' offices, government agencies, and private companies.
Un-American is Bill Mullen’s revisionist account of renowned author and activist W.E.B. Du Bois’s political thought toward the end of his life, a period largely dismissed and neglected by scholars. He describes Du Bois’s support for what the Communist International called “world revolution” as the primary objective of this aged radical’s activism. Du Bois was a champion of the world’s laboring millions and critic of the Cold War, a man dedicated to animating global political revolution.
Mullen argues that Du Bois believed that the Cold War stalemate could create the conditions in which the world powers could achieve not only peace but workers’ democracy. Un-American shows Du Bois to be deeply engaged in international networks and personal relationships with revolutionaries in India, China, and Africa. Mullen explores how thinkers like Karl Marx, Jawaharlal Nehru, Mohandas Gandhi, and C.L.R. James helped him develop a theory of world revolution at a stage in his life when most commentators regard him as marginalized. This original political biography also challenges assessments of Du Bois as an American “race man.”
Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.
During the Cold War, Ellis Island no longer served as the largest port of entry for immigrants, but as a prison for holding aliens the state wished to deport. The government criminalized those it considered un-assimilable (from left-wing intellectuals and black radicals to racialized migrant laborers) through the denial, annulment, and curtailment of citizenship and its rights. The island, ceasing to represent the iconic ideal of immigrant America, came to symbolize its very limits.
Unbecoming Americans sets out to recover the shadow narratives of un-American writers forged out of the racial and political limits of citizenship. In this collection of Afro-Caribbean, Filipino, and African American writers—C.L.R. James, Carlos Bulosan, Claudia Jones, and Richard Wright—Joseph Keith examines how they used their exclusion from the nation, a condition he terms “alienage,” as a standpoint from which to imagine alternative global solidarities and to interrogate the contradictions of the United States as a country, a republic, and an empire at the dawn of the "American Century.”
Building on scholarship linking the forms of the novel to those of the nation, the book explores how these writers employed alternative aesthetic forms, including memoir, cultural criticism, and travel narrative, to contest prevailing notions of race, nation, and citizenship. Ultimately they produced a vital counter-discourse of freedom in opposition to the new formations of empire emerging in the years after World War II, forms that continue to shape our world today.
Kim’s close readings ultimately enliven the current conversation in French studies by serving as a provocation to return to reading literary texts deeply and closely, without subordinating literature to a pre-existing ideological framework—to let literature speak, to let it theorize. Tracking the influence of these writers on each other, Kim provides a new, original French feminist poetics and demonstrates that Sarraute, Wittig, and Garréta’s work allows for a hollowing out of difference from within, allowing writers and readers to unbecome—to break free of identity and exist as subjectivities without subjecthood. In looking at these writers together, Kim provides a defense of literature as liberatory— capable of effecting personal and political change—and gives readers an experience of literature’s revolutionary possibilities.
Pauline forged a strong bond with Hemingway, and in 1927, shortly after his divorce from Hadley, she became his second wife. Pauline also became her husband’s devoted editor, and her wealthy family provided moral and financial support, even converting a barn at the family home in Piggott, Arkansas into a dedicated writing studio, where much of his 1929 novel A Farewell to Arms was written. The thirteen years the two were married were some of Hemingway’s most productive.
The marriage eventually ended in the way it began: with an affair. Hemingway left Pauline for Martha Gellhorn, the third of his four wives, in 1940. Unbelievable Happiness and Final Sorrow is the story of the Hemingway-Pfeiffer marriage, a narrative of Pauline Pfeiffer’s fascinating life and her influence on one of America’s most enigmatic literary icons.
literary history and theory to give the poems of Elizabeth Bishop (1911-79)
the serious critical attention they deserve. The Unbeliever shows that
Bishop's poems, already famous for their clear and quiet tone, also struggle
with confusion and wonder about things she can never make quiet or clear.
Winner of the Friedrich Wilhelm Bessel Research Award
Recipient, 2022 Guggenheim Fellowship
Around 1900, when the last blank spaces on their maps were filled, Europeans traveled to far-flung places hoping to find the spectacularly foreign. They discovered instead what Freud called, several years later, the uncannily familiar: disturbing reflections of themselves—either actual Europeans or Westernized natives. This experience was most extreme for German travelers, who arrived in the contact zones late, on the heels of other European colonialists, and it resulted not in understanding or tolerance but in an increased propensity for violence and destruction. The quest for a “virginal,” exotic existence proved to be ruined at its source, mirroring back to the travelers demonic parodies of their own worst aspects. In this strikingly original book, John Zilcosky demonstrates how these popular “uncanny” encounters influenced Freud’s—and the literary modernists’—use of the term, and how these encounters remain at the heart of our cross-cultural anxieties today.
2016 AATSEEL Prize for Best Book in Literary/Cultural Studies
Vasilii Aksenov, Andrei Bitov, and Venedikt Erofeev were among the most acclaimed authors of samizdat, the literature that was self-published in the former Soviet Union in order to evade censorship and prosecution. In Uncensored, Ann Komaromi uses their work to argue for a far more sophisticated understanding of the phenomenon of samizdat, showing how the material circumstances of its creation and dissemination exercised a profound influence on the very idea of dissidence, reconfiguring the relationship between author and reader.
Using archival research to fully illustrate samizdat’s social and historical context, Komaromi arrives at a more nuanced theoretical position that breaks down the opposition between the autonomous work of art and direct political engagement. The similarities between samizdat and digital culture have particular relevance for contemporary discourses of dissident subjectivity.
In twentieth-century Kenya, age and gender were powerful cultural and political forces that animated household and generational relationships. They also shaped East Africans’ contact with and influence on emergent colonial and global ideas about age and masculinity. Kenyan men and boys came of age achieving their manhood through changing rites of passage and access to new outlets such as town life, crime, anticolonial violence, and nationalism. And as they did, the colonial government appropriated masculinity and maturity as means of statecraft and control.
In An Uncertain Age, Paul Ocobock positions age and gender at the heart of everyday life and state building in Kenya. He excavates in unprecedented ways how the evolving concept of “youth” motivated and energized colonial power and the movements against it, exploring the masculinities boys and young men debated and performed as they crisscrossed the colony in search of wages or took the Mau Mau oath. Yet he also considers how British officials’ own ideas about masculinity shaped not only young African men’s ideas about manhood but the very nature of colonial rule.
An Uncertain Age joins a growing number of histories that have begun to break down monolithic male identities to push the historiographies of Kenya and empire into new territory.
Uncertain Dimensions 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.
World War I battered the Western imperial systems and destroyed one, that of Germany, but it did not sound the death knell of an empire. The "scramble" for overseas territory ha reached a virtual conclusion shortly before the war; afterwards, the main business of empire was to ensure a pax colonia: the often contradictory goals of a stable government and economic development. It is with the years between world wars—the brief age of administrative empire — that Raymond Betts is chiefly concerned in this book. An unsettled time, when individuals coped with empire of uncertain dimensions, the interwar years nonetheless left a material legacy—railroads, motor roads, public buildings — and an ideological one—the voices of protest that led to independence after World War II.
Preeminently a cultural history of the era rather than a political narrative, Uncertain Dimensions centers upon the regions we now call the Third World—Subsaharan Africa and Southeast Asia—and the major colonial powers, Great Britain and France. Betts has structured this book as a group of closely linked interpretive essays, each devoted to a specific aspect of the late colonial experience: World War I and the postwar mandates, colonial administration, the European economic imperative and "technology transfer," urbanization, anti-imperial protest, and decolonization. Throughout, he draws upon the work of novelists, poets, and theoreticians—Aime Cesaire, Claude McKay, Leopold Sedar Senghor, Frantz Fanon, and many others—and recognizes the deep irony at the heart of modern imperialism: that contact between Western and Third worlds was mostly confined to two minorities, the alien European and the socially uprooted African or Asian.
W. M. Spellman chronicles how after 1945, migration patterns expanded in numbers of people and origin countries, due to overpopulation, poverty, violent conflicts, and the lowered costs of air travel. Uncertain Identity sets these patterns in the context of issues such as the impact of voluntary and forced relocation on the migrants and destination countries, the significance of south-to-north migrations, and recent enactments of restrictive immigration measures in developed nations. Spellman also considers temporary and refugee migrations and the ways in which refugees maintain cultural traditions despite their new environments.
An incisive study with global breadth, Uncertain Identity offers invaluable analysis for specialists in political science, sociology, and economics.
Stitt's interest in these five poets is intellectual and aesthetic. As he states, “I chose these particular writers because their work continues to interest me deeply, both intellectually and formally, even after years of familiarity.” He uses his understanding of the philosophical implications inherent in modern physics, as they apply to both content and form, as the basis for his close analysis.
Stitt attends to the poets' writerly strategies so that we may discover in their poetry where “surface form” intersects and complements meaning and thus becomes, in John Berryman's terms, “deep form.” He explains what these poets say and how they say it and what relationships lie between. He also shows how humor plays a part in some of their work.
A revisionist account of interwar Europe’s largest Jewish community that upends histories of Jewish agency to rediscover reckonings with nationalism’s pathologies, diaspora’s fragility, Zionism’s promises, and the necessity of choice.
What did the future hold for interwar Europe’s largest Jewish community, the font of global Jewish hopes? When intrepid analysts asked these questions on the cusp of the 1930s, they discovered a Polish Jewry reckoning with “no tomorrow.” Assailed by antisemitism and witnessing liberalism’s collapse, some Polish Jews looked past progressive hopes or religious certainties to investigate what the nation-state was becoming, what powers minority communities really possessed, and where a future might be found—and for whom.
The story of modern Jewry is often told as one of creativity and contestation. Kenneth B. Moss traces instead a late Jewish reckoning with diasporic vulnerability, nationalism’s terrible potencies, Zionism’s promises, and the necessity of choice. Moss examines the works of Polish Jewry’s most searching thinkers as they confronted political irrationality, state crisis, and the limits of resistance. He reconstructs the desperate creativity of activists seeking to counter despair where they could not redress its causes. And he recovers a lost grassroots history of critical thought and political searching among ordinary Jews, young and powerless, as they struggled to find a viable future for themselves—in Palestine if not in Poland, individually if not communally.
Focusing not on ideals but on a search for realism, Moss recasts the history of modern Jewish political thought. Where much scholarship seeks Jewish agency over a collective future, An Unchosen People recovers a darker tradition characterized by painful tradeoffs amid a harrowing political reality, making Polish Jewry a paradigmatic example of the minority experience endemic to the nation-state.
Against the backdrop of America’s counterculture and civil rights movements, author Gayle A. Pritchard’s compelling narrative threads its way through the emergence of the art quilt, from artists working in isolation to the explosive “big bang” of the first Quilt National and its inevitable reverberations. Pritchard provides a fascinating and personal glimpse into the private world of these unique artists through in-depth interviews, rare photographs, and abundant quilt illustrations.
As Uncommon Threads demonstrates, the art quilt movement could not have occurred without Ohio’s unparalleled contribution. Quilt lovers around theworld will relish discovering this tale of the uncommon energy, vision, creativity, and devotion to self-expression that truly made a quilt revolution.
Sergei Konenkov was one of this century's most distinguished Russian artists. A celebrated sculptor, he was a leading figure of the young Soviet art establishment in the early 1920s. After spending over twenty years in the United States, he returned to the Soviet Union in 1945 to become a respected member of the Soviet art world. The mentor to an entire generation of Soviet sculptors, he was renowned for his personal charisma and artistic versatility. This collection of essays, interviews, and personal reminiscences is the first appraisal of his work and life published outside of Russia.
The contributors view Konenkov’s work within a variety of cultural, artistic, and philosophical contexts. With particular attention to his awareness of both indigenous Russian traditions and European innovations, they trace the many stages of his artistic development as he explored and experimented with techniques borrowed from Realism, Symbolism, salon portraiture, African wood carving, Socialist Realism, and Surrealism. The many different historical sources that inspired Konenkov’s artistic expression, from Orthodox Christianity and the folklore of the Russian peasantry to the Egyptian pyramids and pre-classical antiquity are also discussed. The contributors also explore the relationship of Konenkov's life and ideology to art, and the effects of expatriation on creativity.
Illustrated with dozens of photographs of Konenkov’s art, this study of one of the most enigmatic and fascinating artists of the modern period will accompany an exhibition at The Jane Voorhees Zimmerli Art Museum.
In the postwar era, American urban fiction is dominated by the imagery of containment. Across the fictional landscape, the city is divided into segregated zones, marked by the threat of inevitable violence, and set off from the safety of equally contained suburbs. Mean and dangerous, the city can only be navigated by a solitary expert, alienated and male. In Uncontained, Elizabeth A. Wheeler offers a critique of this familiar story-evident in the noir. narratives of James M. Cain and in work by Ellison, Roth, Salinger, Percy, Capote, and others —and challenges its link to the postwar city.
Discussing film, short stories, and novels from a cross-section of American cities, Wheeler integrates these stories of containment into a shared pattern and reads them across a broad spectrum of famous and forgotten works by men and women of various ethnic and literary traditions to reveal a larger vision of postwar America. Knowing that containment is never the entire story, that diversity or trauma always shows itself, she shows how the uncontained has shaped the historical moment. Aware that liberating counterstories do get told, she places them in dialogue with those of the alienated man, the war veteran, Beat hipster, noir detective, and ironic suburbanite — in historical context — and revives the idea of urban space as a place of openness, thereby challenging a literary containment of racial difference, gender, and sexuality. By reading Paule Marshall in tandem with Philip Roth, Wheeler explores the relationships between adjacent neighborhoods and reconnects separate literary and geographic areas. By bringing Ann Bannon's lesbian pulp fiction, Hubert Selby's cult novels, or the work of John Okada, Hisaye Yamamoto, Chester Himes, Gwendolyn Brooks's, Jo Sinclair, and many others to bear on more canonical texts, she offers a more complete understanding of this period of American fiction — one that points toward a city that is open and inclusive.
Uncontained suggests that while decline, division, and decay form a major part of the story of mid-century urban America, the postwar city also represents much of what is best about American life. Rather than reproducing the containment of culture, Wheeler places together the wildly disparate to show how we move beyond containment.
In the postwar era, American urban fiction is dominated by the imagery of containment. Across the fictional landscape, the city is divided into segregated zones, marked by the threat of inevitable violence, and set off from the safety of equally contained suburbs. Mean and dangerous, the city can only be navigated by a solitary expert, alienated and male. In Uncontained, Elizabeth A. Wheeler offers a critique of this familiar story-evident in the noir. narratives of James M. Cain and in work by Ellison, Roth, Salinger, Percy, Capote, and others —and challenges its link to the postwar city.
Discussing film, short stories, and novels from a cross-section of American cities, Wheeler integrates these stories of containment into a shared pattern and reads them across a broad spectrum of famous and forgotten works by men and women of various ethnic and literary traditions to reveal a larger vision of postwar America. Knowing that containment is never the entire story, that diversity or trauma always shows itself, she shows how the uncontained has shaped the historical moment. Aware that liberating counterstories do get told, she places them in dialogue with those of the alienated man, the war veteran, Beat hipster, noir detective, and ironic suburbanite — in historical context — and revives the idea of urban space as a place of openness, thereby challenging a literary containment of racial difference, gender, and sexuality. By reading Paule Marshall in tandem with Philip Roth, Wheeler explores the relationships between adjacent neighborhoods and reconnects separate literary and geographic areas. By bringing Ann Bannon's lesbian pulp fiction, Hubert Selby's cult novels, or the work of John Okada, Hisaye Yamamoto, Chester Himes, Gwendolyn Brooks's, Jo Sinclair, and many others to bear on more canonical texts, she offers a more complete understanding of this period of American fiction — one that points toward a city that is open and inclusive.
Uncontained suggests that while decline, division, and decay form a major part of the story of mid-century urban America, the postwar city also represents much of what is best about American life. Rather than reproducing the containment of culture, Wheeler places together the wildly disparate to show how we move beyond containment.
One of the Chinese American Librarians Association’s Ten Best Books of 2010
During the infamous “Rape of Nanking,” a brutal military occupation of Nanking, China, that began on December 13, 1937, it is estimated that Japanese soldiers killed between 200,000 and 300,000 Chinese and raped between 20,000 and 80,000 women. To shelter civilian refugees, a group of Westerners established a Nanking Safety Zone. Among these humanitarians was Minnie Vautrin, an American missionary and acting president of Ginling College. She and Tsen Shui-fang, her Chinese assistant and a trained nurse, turned the college into a refugee camp, which protected more than 10,000 women and children during the height of the ordeal. The Undaunted Women of Nanking juxtaposes day-by-day the exhausted and terrified women’s wartime diaries, providing vital eyewitness accounts of the Rape of Nanking and a unique focus on the Ginling refugee camp and the sufferings of women and children. Vautrin's diary reveals the humanity and courage of a female missionary in a time of terror. Tsen Shui-fang’s diary, never before published in English and translated here for the first time, is the only known daily account by a Chinese national written during the crisis and not retrospectively. As such, it records a unique perspective: that of a woman grappling with feelings of anger, sorrow, and compassion as she witnesses the atrocities being committed in her war-torn country.
Editors Hua-ling Hu and Zhang Lian-hong have added many informative annotations to the diary entries from sources including the proceedings of the Tokyo War Crimes Trial of 1946, Vautrin’s correspondence, John Rabe’s diary, and other historical documents. Also included are biographical sketches of the two women, a note on the diaries, and information about the aftermath of the tragedy, as well as maps and photos—some of which appear in print in this book for the first time.
Under Briggflatts is organized in three large chapters, one devoted to each decade. In the 1960s, Davie pays particular attention to the work of Austin Clarke, Hugh MacDiarmid, Norman McCaig, Keith Douglas, Edwin Muir, Basil Bunting (the gurus whose prose writings helped catalyze the traumatic events of 1968), Elaine Feinstein, Sylvia Townsend Warner, Philip Larkin, Charles Tomlinson, Thomas Kinsella, and Ted Hughes. The second chapter follows these figures into the new decade and explores the work of (among others) Thom Gunn, C. H. Sisson, R. S. Thomas, John Betjeman, and such themes as women's poetry, translation, poetic theory, and the later impact of T. S. Eliot and of Edward Thomas. Perhaps the most controversial chapter is the third, in which David—without abandoning the poets already introduced—assesses Geoffrey Hill, Tony Harrison, and Seamus Heaney, and looks too at the recovery of Ivor Gurney's poems, at Ted Hughes as Laureate, the posthumous work of Sylvia Townsend Warner, the burgeoning Hardy industry, and the critical writings of Kenneth Cox.
In Under the Radar, Ellen Leopold shows how nearly every aspect of our understanding and discussion of cancer bears the imprint of its Cold War entanglement. The current biases toward individual rather than corporate responsibility for rising incidence rates, research that promotes treatment rather than prevention, and therapies that can be patented and marketed all reflect a largely hidden history shaped by the Cold War. Even the language we use to describe the disease, such as the guiding metaphor for treatment, "fight fire with fire," can be traced back to the middle of the twentieth century.
Writing in a lucid style, Leopold documents the military, governmental, industrial, and medical views of radiation and atomic energy to examine the postwar response to cancer through the prism of the Cold War. She explores the role of radiation in cancer therapies today, using case studies and mammogram screening, in particular, to highlight the surprising parallels. Taking into account a wide array of disciplines, this book challenges our understanding of cancer and how we approach its treatment.
- Examines the postwar response to cancer through the prism of the Cold War
- Goes beyond medical science to look at the influence of Cold War policies on the way we think about cancer today
- Links the experience of postwar cancer patients with the broader evolution of what have become cancer industries
- Traces the history of human-made radiation as a state-sponsored environmental toxin
This comprehensive view of the Orpheus myth in modern art focuses on an extremely rich artistic symbol and cuts through all the clichés to explore truly significant problems of meaning. The author takes a new approach to the iconography of major modern artists by incorporating psychological and literary analysis, as well as biography.
The three parts of the book explore the ways in which artists have identified with different aspects of the often paradoxical Orpheus myth. The first deals with artists such as Paul Klee, Carl Milles, and Barbara Hepworth. In the second, Max Beckmann, Oskar Kokoschka, and Isamu Noguchi are discussed. Artists examined in the final part include Pablo Picasso, Jacques Lipchitz, Ethel Schwabacher, and Cy Twombly. The author documents her argument with more than sixty illustrations.
The sociology of “social deviants” flourished in the United States at midcentury, studying the lives of outsiders such as homosexuals, Jews, disabled people, drug addicts, and political radicals. But in the following decades, many of these downcast figures would become the architects of new social movements, activists in revolt against institutions, the state, and social constraint. As queer theory gained prominence as a subfield of the humanities in the late 1980s, it seemed to inherit these radical, activist impulses—challenging not only gender and sexual norms, but also the nature of society itself.
With Underdogs, Heather Love shows that queer theorists inherited as much from sociologists as they did from activists. Through theoretical and archival work, Love traces the connection between midcentury studies of deviance and the antinormative, antiessentialist field of queer theory. While sociologists saw deviance as an inevitable fact of social life, queer theorists embraced it as a rallying cry. A robust interdisciplinary history of the field, Underdogs stages a reencounter with the practices and communities that underwrite radical queer thought.
The Marine Corps has always considered itself a breed apart. Since 1775, America’s smallest armed service has been suspicious of outsiders and deeply loyal to its traditions. Marines believe in nothing more strongly than the Corps’ uniqueness and superiority, and this undying faith in its own exceptionalism is what has made the Marines one of the sharpest, swiftest tools of American military power. Along with unapologetic self-promotion, a strong sense of identity has enabled the Corps to exert a powerful influence on American politics and culture.
Aaron O’Connell focuses on the period from World War II to Vietnam, when the Marine Corps transformed itself from America’s least respected to its most elite armed force. He describes how the distinctive Marine culture played a role in this ascendancy. Venerating sacrifice and suffering, privileging the collective over the individual, Corps culture was saturated with romantic and religious overtones that had enormous marketing potential in a postwar America energized by new global responsibilities. Capitalizing on this, the Marines curried the favor of the nation’s best reporters, befriended publishers, courted Hollywood and Congress, and built a public relations infrastructure that would eventually brand it as the most prestigious military service in America.
But the Corps’ triumphs did not come without costs, and O’Connell writes of those, too, including a culture of violence that sometimes spread beyond the battlefield. And as he considers how the Corps’ interventions in American politics have ushered in a more militarized approach to national security, O’Connell questions its sustainability.
As Gonzalez drives the highways of New Mexico and west Texas, he shows us a border culture rejuvenated by tourist and trade dollars, one that will surprise readers for whom the border means only illegal immigration, NAFTA, and the drug trade. Played out against a soundtrack of the Allman Brothers and The Doors, The Underground Heart takes readers on a trip through a seemingly barren landscape that teems with life and stories. Gonzalez witnesses Minnesotans experiencing culture shock while attending a college football game in El Paso; he finds a proliferation of Pancho Villa death masks housed at different museums; he revisits Carlsbad Caverns, discovering unsuspected beauty beneath the desert's desolation; and he takes us shopping at El Mercado—where tourists can buy everything from black velvet paintings of Elvis (or Jesus, or JFK) to Mexican flag underwear.
From "nuclear tourism" in New Mexico to "heritage tourism" in the restored missions of San Antonio, Gonzalez goes behind the slogans of The Land of Enchantment and The Lone Star State to uncover a totally different Southwest. Here are tourist centers that give a distorted view of southwestern life to outsiders, who leave their dollars in museum gift shops and go home weighed down with pounds of Indian jewelry around their necks. Here border history is the story of one culture overlaid on another, re-forming itself into a whole new civilization on the banks of the Rio Grande.
The Underground Heart is a book brimming with subtle ironies and insights both quiet and complex—one which recognizes that sometimes one must go away and grow older to finally recognize home as a life-giving, spiritually sustaining place. As Gonzalez rediscovers the land of his past, he comes to understand the hyper, bilingual atmosphere of its future. And in the Southwest he describes, readers may catch a glimpse of their own hidden landscapes of home.
Writers and artists took up questions that originated in the sphere of urban planning to explore how underground movement changed the ways people understand the city. Modern poets envisioned the subway as a space of literary innovation; playwrights and fiction writers used it to gauge the consequences of migration and immigration; and essayists found that it underscored the fragile relationship between urban development and memory. Even today, the symbolic associations forged by these early texts continue to influence understanding of the cultural significance of the subway and the city it connects.
Phylis Martinelli argues that the case of Italians in Arizona provides insight into “in between” racial and ethnic categories, demonstrating that the categorizing of Italians varied from camp to camp depending on local conditions—such as management practices in structuring labor markets and workers’ housing, and the choices made by immigrants in forging communities of language and mutual support. Italians—even light-skinned northern Italians—were not considered completely “white” in Arizona at this historical moment, yet neither were they consistently racialized as non-white, and tactics used to control them ranged from micro to macro level violence.
To make her argument, Martinelli looks closely at two “white camps” in Globe and Bisbee and at the Mexican camp of Clifton-Morenci. Comparing and contrasting the placement of Italians in these three camps shows how the usual binary system of race relations became complicated, which in turn affected the existing race-based labor hierarchy, especially during strikes. The book provides additional case studies to argue that the biracial stratification system in the United States was in fact triracial at times. According to Martinelli, this system determined the nature of the associations among laborers as well as the way Americans came to construct “whiteness.”
The volume addresses a wide swath of topics, from social movements around identity and representation to the Supreme Court, law enforcement, migration, climate change, and international relations. Emphasizing critical thinking and primary-source analysis, it will aid teachers in creating an invigorating and democratizing classroom experience. Intended for use in both secondary and postsecondary classrooms, the book’s structure allows for a variety of applications and invites a broad audience.
Books in the popular Harvey Goldberg Series provide high school and introductory college-level instructors with ample resources and strategies for better engaging students in critical, thought-provoking topics. By allowing for the implementation of a more nuanced curriculum, this is history instruction at its best. Understanding and Teaching the Civil Rights Movement will transform how the United States civil rights movement is taught.
Major economists and economic schools of thought are discussed in a chapter-by-chapter guide that covers Marx, Veblen, Gramsci, post-Keynesian theory, US institutionalists, Sweezy and the Monopoly Capital school, and recent Nobel Prize winner Amartya Sen. Contributors include Michael Lebowitz, Carl Boggs, Michael Keaney, Frederic Lee, John Bellamy Foster and Robin Hahnel, with an introduction by the editor, Douglas Dowd.
The "Celtic Tiger" phenomenon has made Ireland the focus of much attention in recent years. Other countries have openly declared that they want to follow the Irish economic and social model. Yet there is no book that gives a comprehensive, spatially-informed analysis of the Irish experience. This book fills that gap.
Divided into four parts—planning and development, the economy, the political landscape, and population and social issues—the chapters provide an explanation of a particular aspect of Ireland and Irish life accompanied by illustrative material. In particular, the authors reveal how the transformations that have occurred are uneven and unequal in their effects across the country and highlight the challenges now facing Irish society and policy-makers.
Scholars often read Sebald’s work as a project of cultural memory that aims to reevaluate Europe's past in the wake of the traumatic and complex events of the twentieth century. Sebald’s characters seek out the traces of Europe’s destructive history in strange places. They linger in disused train stations, pause before works of art, and return to childhood homes that turn out to be more foreign than any place they have visited. Underworlds of Memory demonstrates that these strange encounters with the past are based on central tropes of classical epic: the journey to the underworld, the encounter with a work of art, and the return to the homeland.
Sebald thus follows in the footsteps of German Jewish authors, including Peter Weiss, Siegfried Kracauer, and Jean Améry, who use these same epic tropes to reconsider the cultural memory of the Holocaust. Underworlds of Memory reads Sebald's works together with the works of these German Jewish authors and the classical epics of Homer and Virgil in order to describe and trace the origins of the unique intervention into cultural memory they embody.
Undoing the Revolution looks at the way rural underclasses ally with out-of-power elites to overthrow their governments—only to be shut out of power when the new regime assumes control. Vasabjit Banerjee first examines why peasants need to ally with dissenting elites in order to rebel. He then shows how conflict resolution and subsequent bargains to form new state institutions re-empower allied elites and re-marginalize peasants.
Banerjee evaluates three different agrarian societies during distinct time periods spanning the twentieth century: revolutionary Mexico from 1910 to 1930; late-colonial India from 1920 until 1947; and White-dominated Zimbabwe (Rhodesia) from the mid-1960s to 1980. This comparative approach also allows examination of both the underclass need for elite participation and the variety of causes that elites use to incentivize peasant classes to participate, extending from religious-ethnic identity and common political targets to the peasants’ and elites’ own economic grievances.
Undoing the Revolution demonstrates that both international and domestic investors in cash crops, natural resources, and finance can ally with peasant rebels; and, after threatened or actual state collapse, they can bargain with each other to select new state institutions.
The first major history of modern Chinese geology, Unearthing the Nation introduces the key figures in the rise of the field, as well as several key organizations, such as the Geological Society of China, and explains how they helped bring Chinese geology onto the world stage.
The definitive account of how conservative Southern Baptists came to dominate the nation's largest Protestant denomination
In 1979 a group of conservative members of the Southern Baptists Convention (SBC) initiated a campaign to reshape the denomination’s seminaries and organizations by installing new conservative leaders who made belief in the inerrancy of the Bible a condition of service. They succeeded. This book is a definitive account of that takeover.
Barry Hankins argues that the conservatives sought control of the SBC not or not only to secure the denomination's orthodoxy but to mobilize Southern Baptists for a war against secular culture. The best explanation of the beliefs and behavior of Southern Baptist conservatives, Hankins concludes, lies in their adoption of the culture war model of American society. Believing that "American culture has turned hostile to traditional forms of faith,” they sought to deploy the Southern Baptist Convention in a "full-scale culture war" against secularism in the United States. Hankins traces the roots of this movement to the ideas of such post-WWII northern evangelicals as Carl F. H. Henry and Francis Schaeffer. Henry and Schaeffer viewed America's secular culture as hostile to Christianity and called on evangelicals to develop a robust Christian opposition to secular culture. As the nation’s largest Protestant denomination, SBC positions on divisive cultural issues like abortion have remade the American political landscape, most notably in the reversal of Roe v. Wade.
Hankins also argues, however, that Southern Baptist conservatives sought more than orthodox adherence to Biblical inerrancy. They also sought an identity that was authentically Baptist and Southern. Hankin’s excellent and prescient work will fascinate readers interested in contemporary American religion, culture, and public policy, as well as in the American South.
Karl shows how Americans approached the central dilemmas of modern life, such as the clash between planned efficiency and autonomous individualism, which they managed to patch over but never fully resolve. Above all, he finds that America's commitment to the autonomous individual is both an aspiration and a curse.
Seigel explores the circulation of images of Brazilian coffee and of maxixe in the United States during the period just after the imperial expansions of the early twentieth century. Exoticist interpretations structured North Americans’ paradoxical sense of themselves as productive “consumer citizens.” Some people, however, could not simply assume the privileges of citizenship. In their struggles against racism, Afro-descended citizens living in Rio de Janeiro, São Paulo, New York, and Chicago encountered images and notions of each other, and found them useful. Seigel introduces readers to cosmopolitan Afro-Brazilians and African Americans who rarely traveled far from home but who nonetheless absorbed ideas from abroad. She suggests that studies comparing U.S. and Brazilian racial identities as two distinct constructions are misconceived. Racial formation transcends national borders; attempts to understand it must do the same.
Unfriendly Witnesses: Gender, Theater, and Film in the McCarthy Era examines the experiences of seven prominent women of stage and screen whose lives and careers were damaged by the McCarthy-era “witch hunts” for Communists and Communist sympathizers in the entertainment industry: Judy Holliday, Anne Revere, Lillian Hellman, Dorothy Parker, Margaret Webster, Mady Christians, and Kim Hunter.
The effects on women of the anti-Communist crusades that swept the nation between 1947 and 1962 have been largely overlooked by cultural critics and historians, who have instead focused their attention on the men of the period. Author Milly S. Barranger looks at the gender issues inherent in the investigations and at the destructive impact the investigations had on the lives and careers of these seven women—and on American film and theater and culture in general.
Issues of gender and politics surface in the women’s testimony before the committeemen, labeled “unfriendly” because the women refused to name names. Unfriendly Witnesses redresses the absence of women’s histories during this era of modern political history and identifies the enduring strains of McCarthyism in postmillennial America.
Barranger recreates the congressional and state hearings that addressed the alleged Communist influence in the entertainment industry and examines in detail the cases of these seven women, including the appearance of actress Judy Holliday before the committee of Senator Pat McCarran, who aimed to limit the immigration of Eastern Europeans; actress Anne Revere and playwright Lillian Hellman, appearing before the House Un-American Activities Committee, sought the protections of the Fifth Amendment with different outcomes; of writer Dorothy Parker, who testified before a New York state legislative committee investigating contributions to “front” groups; and of director Margaret Webster, before Senator Joseph McCarthy’s subcommittee, whose aim was the indictment of Senator J. William Fulbright and the U.S. State Department. None escaped subsequent blacklisting, denial of employment, and notations in FBI files that they were threats to national security.
Unfriendly Witnesses is enhanced by nine illustrations and extensive excerpts from Red Channels: The Report of Communist Influence in Radio and Television, originally published in 1950 at the height of the Red Scare, and which listed 151 allegedly subversive writers, directors, and performers. Barranger includes the complete entries from Red Channels for the seven women she discusses, which include the “subversive” affiliations that prompted the women’s interrogation by the government.
Unguarded Border tells their stories and, in the process, describes a migrant experience that does not fit the usual paradigms. Rather than treating these American refugees as unwelcome foreigners, Canada embraced them, refusing to extradite draft resisters or military deserters and not even requiring passports for the border crossing. And instead of forming close-knit migrant communities, most of these émigrés sought to integrate themselves within Canadian society.
Historian Donald W. Maxwell explores how these Americans in exile forged cosmopolitan identities, coming to regard themselves as global citizens, a status complicated by the Canadian government’s attempts to claim them and the U.S. government’s eventual efforts to reclaim them. Unguarded Border offers a new perspective on a movement that permanently changed perceptions of compulsory military service, migration, and national identity.
The union of hospital workers usually referred to as the 1199 sits at the intersection of three of the most important topics in US history: organized labor, health care, and civil rights. John Hennen’s book explores the union’s history in Appalachia, a region that is generally associated with extractive industries but has seen health care grow as a share of the overall economy.
With a multiracial, largely female, and notably militant membership, 1199 was at labor’s vanguard in the 1970s, and Hennen traces its efforts in hospitals, nursing homes, and healthcare centers in West Virginia, eastern Kentucky, and Appalachian Ohio. He places these stories of mainly low-wage women workers within the framework of shake-ups in the late industrial and early postindustrial United States, relying in part on the words of Local 1199 workers and organizers themselves. Both a sophisticated account of an overlooked aspect of Appalachia’s labor history and a key piece of context for Americans’ current concern with the status of “essential workers,” Hennen’s book is a timely contribution to the fields of history and Appalachian studies and to the study of social movements.
After a chance meeting aboard the ocean liner Paris in 1924, Harvard University scholar and activist F. O. Matthiessen and artist Russell Cheney fell in love and remained inseparable until Cheney’s death in 1945. During the intervening years, the men traveled throughout Europe and the United States, achieving great professional success while contending with serious personal challenges, including addiction, chronic disease, and severe depression.
During a hospital stay, years into their relationship, Matthiessen confessed to Cheney that “never once has the freshness of your life lost any trace of its magic for me. Every day is a new discovery of your wealth.” Situating the couple’s private correspondence alongside other sources, Scott Bane tells the remarkable story of their relationship in the context of shifting social dynamics in the United States. From the vantage point of the present day, with marriage equality enacted into law, Bane provides a window into the realities faced by same-sex couples in the early twentieth century, as they maintained relationships in the face of overt discrimination and the absence of legal protections.
The United States of India shows how Indian and American writers in the United States played a key role in the development of anticolonial thought in the years during and immediately following the First World War. For Indians Lajpat Rai and Dhan Gopal Mukerji, and Americans Agnes Smedley, W.E.B. Du Bois, and Katherine Mayo, the social and historical landscape of America and India acted as a reflective surface. Manan Desai considers how their interactions provided a “transnational refraction”—a political optic and discursive strategy that offered ways to imagine how American history could shed light on an anticolonial Indian future.
Desai traces how various expatriate and immigrant Indians formed political movements that rallied for American support for the cause of Indian independence. These intellectuals also developed new forms of writing about subjugation in the U.S. and India. Providing an examination of race, caste, nationhood, and empire, Desai astutely examines this network of Indian and American writers and the genres and social questions that fomented solidarity across borders.
Following an extensive historical overview of theories about universal grammar, Herman examines Joyce’s Ulysses, Kafka’s The Trial, and Woolf’s Between the Acts as case studies of modernist literary narratives that encode grammatical principles which were (re)fashioned in logic, linguistics, and philosophy during the same period. Herman then uses the interpretation of universal grammar developed via these modernist texts to explore later twentieth-century cultural phenomena. The problem of citation in the discourses of postmodernism, for example, is discussed with reference to syntactic theory. An analysis of Peter Greenaway’s The Cook, The Thief, His Wife, and Her Lover raises the question of cinematic meaning and draws on semantic theory. In each case, Herman shows how postmodern narratives encode ideas at work in current theories about the nature and function of language.
Outlining new directions for the study of language in literature, Universal Grammar and Narrative Form provides a wealth of information about key literary, linguistic, and philosophical trends in the twentieth century.
Such prototypical characters transform the symbol of the Jew from a racially or religiously defined minority subject to a "post-Jewish," particularuniversal, and fundamentally liberal majority subject. The Universal Jew situates the "Zionist moment" horizontally, within the various intellectual currents that make up the turn of the twentieth century: the discourse on modernity, the crisis in liberalism, Nietzsche’s critique of the Enlightenment, psychoanalysis, early feminism, and fin de siècle interrogation of sexual identities. The book examines the symbolic roles that Jews are assigned within these discourses and traces the ways in which Jewish literary citizens are shaped, both out of and in response to them. Beginning with an analysis of George Eliot’s construction of the character Deronda and its reception in Zionist circles, the Universal Jew ends with the self-fashioning of male citizens in fin de siècle and post-statehood Hebrew works, through the aesthetics oftragedy. Throughout her readings, Dekel analyzes the political meaning of these nascent images of citizens, uncovering in particular the gendered arrangements out of which they are born.
A Choice Outstanding Academic Title, 2011.
Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy.
In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.
Bringing together the latest findings in Holocaust studies, the history of religion, and the history of sexuality in postwar—and now also postcommunist—Europe, Unlearning Eugenics shows how central the controversies over sexuality, reproduction, and disability have been to broader processes of secularization and religious renewal. Herzog also restores to the historical record a revelatory array of activists: from Catholic and Protestant theologians who defended abortion rights in the 1960s–70s to historians in the 1980s–90s who uncovered the long-suppressed connections between the mass murder of the disabled and the Holocaust of European Jewry; from feminists involved in the militant "cripple movement" of the 1980s to lawyers working for right-wing NGOs in the 2000s; and from a handful of pioneers in the 1940s–60s committed to living in intentional community with individuals with cognitive disability to present-day disability self-advocates.
In Unlikely Entrepreneurs, Barbra Mann Wall looks at the development of religious hospitals in the late nineteenth and early twentieth centuries and the entrepreneurial influence Catholic sisters held in this process. When immigrant nuns came to the United States in the late nineteenth century, they encountered a market economy that structured the way they developed their hospitals. Sisters enthusiastically engaged in the market as entrepreneurs, but they used a set of tools and understanding that were counter to the market. Their entrepreneurship was not to expand earnings but rather to advance Catholic spirituality.
Wall places the development of Catholic hospital systems (located in Illinois, Indiana, Minnesota, Texas, and Utah) owned and operated by Catholic sisters within the larger social, economic, and medical history of the time. In the modern health care climate, with the influences of corporations, federal laws, spiraling costs, managed care, and medical practices that rely less on human judgments and more on technological innovations, the “modern” hospital reflects a dim memory of the past. This book will inform future debates on who will provide health care as the sisters depart, how costs will be met, who will receive care, and who will be denied access to health services.
Through systematic and detailed readings of Futurist texts, James Rann offers the first book-length study of the tensions between the outspoken literary group and the great national poet. He observes how those in the movement engaged with and invented a new Pushkin, who by turns became a founding father to rebel against, a source of inspiration to draw from, a prophet foreseeing the future, and a monument to revive.
Rann's analysis contributes to the understanding of both the Futurists and Pushkin's complex legacy. The Unlikely Futurist will appeal broadly to scholars of Slavic studies, especially those interested in literature and modernism.
Marcia Herman’s family moved to Birmingham in 1946, when she was five years old, and settled in the steel-making city dense with smog and a rigid apartheid system. Marcia, a shy only child, struggled to fit in and understand this world, shadowed as it was by her mother’s proud antebellum heritage. In 1966, weary of Alabama’s toxic culture, Marcia and her young family left Birmingham and built a life in North Carolina.
Later in life, Herman-Giddens resumed a search to find out what she did not know about her family history. Unloose My Heart interweaves the story of her youth and coming of age in Birmingham during the Civil Rights Movement together with this quest to understand exactly who and what her maternal ancestors were and her obligations as a white woman within a broader sense of American family.
More than a memoir set against the backdrop of Jim Crow and the civil rights struggle, this is the work of a woman of conscience writing in the twenty-first century. Haunted by the past, Unloose My Heart is a journey of exploration and discovery, full of angst, sorrow, and yearning. Unearthing her forebears’ centuries-long embrace of plantation slavery, Herman-Giddens dug deeply to parse the arrogance and cruelty necessary to be a slaveholder and the trauma and fear that ripple out in its wake. All this forced her to scrutinize the impact of this legacy in her life, as well as her debt to the enslaved people who suffered and were exploited at her ancestors’ hands. But she also discovers lost connections, new cousins and friends, unexpected joys, and, eventually, a measure of peace in the process. With heartbreak, moments of grace, and an enduring sense of love, Unloose My Heart shines a light in the darkness and provides a model for a heartfelt reckoning with American history.
An Unnatural Attitude traces a style of musical thought that coalesced in the intellectual milieu of the Weimar Republic—a phenomenological style that sought to renew contact with music as a worldly circumstance. Deeply critical of the influence of naturalism in aesthetics and ethics, proponents of this new style argued for the description of music as something accessible neither through introspection nor through experimental research, but rather in an attitude of outward, open orientation toward the world. With this approach, music acquires meaning in particular when the act of listening is understood to be shared with others.
Benjamin Steege interprets this discourse as the response of a young, post–World War I generation amid a virtually uninterrupted experience of war, actual or imminent—a cohort for whom disenchantment with scientific achievement was to be answered by reasserting the value of imaginative thought. Steege draws on a wide range of published and unpublished texts from music theory, pedagogy, criticism, and philosophy of music, some of which appear for the first time in English translation in the book’s appendixes. An Unnatural Attitude considers the question: What are we thinking about when we think about music in non-naturalistic terms?
By approaching environments in a new way, Nolan closes this gap and recognizes how contemporary poets employ self-reflexive commentary and formal experimentation in order to create new natural/cultural environments on the page. She proposes a radical new direction for ecopoetics and deploys it in relation to four major American poets. Working from literal to textual spaces through the contemporary poetry of A.R. Ammons’s Garbage, Lyn Hejinian’s My Life, Susan Howe’s The Midnight, and Kenneth Goldsmith’s Seven American Deaths and Disasters, the book presents applications of unnatural ecopoetics in poetic environments, ones that do not engage with traditional ideas of nature and would otherwise remain outside the scope of ecocritical and ecopoetic studies.
Nolan proposes a new practical approach for reading poetic language. Ecocriticism is a very fluid and evolving discipline, and Nolan’s pioneering new book pushes the boundaries of second-wave ecopoetics—the fundamental issue being what is nature/natural, and how does poetic language, particularly self-conscious contemporary poetic agency, contribute to and complicate that question.
What is the place of individual genius in a global world of hyper-information— a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, "originality" begins to take a back seat to what can be done with other people’s words—framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of "unoriginal" writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, "personal" than was the hermetic poetry of the 1980s and 90s.
Perloff traces this poetics of "unoriginal genius" from its paradigmatic work, Benjamin’s encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein’s opera libretto Shadowtime and Susan Howe’s documentary lyric sequence The Midnight. Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada, in German. Unoriginal Genius concludes with a discussion of Kenneth Goldsmith’s conceptualist book Traffic—a seemingly "pure’" radio transcript of one holiday weekend’s worth of traffic reports. In these instances and many others, Perloff shows us "poetry by other means" of great ingenuity, wit, and complexity.
Unorthodox Beauty shows how Russian poets of the early twentieth century consciously adapted Russian Orthodox culture in order to create a distinctly religious modernism. Martha M. F. Kelly contends that, beyond mere themes, these writers developed an entire poetics that drew on liturgical tradition. Specifically, Russian Orthodoxy held out the possibility of unifying spirit and matter, as well as a host of other dichotomies—subject and object, empirical and irrational, noumena and phenomena. The artist could produce a work of transformative and regenerative power. Using a range of crossdisciplinary tools, Kelly reads key works by Blok, Kuzmin, Akhmatova, and Pasternak in ways that illustrate how profoundly religious traditions and ideas shaped Russian modernist literature.
Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art.
Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.
Portuguese and Brazilian slave-traders shipped at least four million slaves to Brazil—in contrast to the five hundred thousand slaves that English vessels brought to the Americas. Controlling the vast number of slaves in Brazil became of primary importance. The Unpast: Elite Violence and Social Control in Brazil, 1954–2000 documents the ways in which the brutal methods used on plantations led directly to the phenomenon of Brazilian death squads.
The Unpast examines how and why, after the abolition of slavery, elites in Brazil imported new methods of killing, torturing, or disfiguring dissidents and the poor to maintain dominance. Bringing a critical-historical analysis to events following the 1954 suicide of President Getúlio Vargas, R. S. Rose takes the reader along a fifty-year path that helped to shape a nation’s morals. He covers the misunderstood presidency of João Goulart; the overthrow of his government by a U.S.-assisted military; the appalling dictatorship that followed; the efforts to rid the countryside of troublemakers; and the ongoing attempt to cleanse the urban environment of the needy, an endeavor that produced 32,675 victims in just two Brazilian states between 1954 and 2000.
The largest and most comprehensive documentation of suspected death-squad victims ever undertaken, The Unpast is an exposé of practices and attitudes toward the poor in Latin America’s largest country.
Elsey’s duties continued with Harry Truman’s succession to the presidency. He decoded the famous message from Secretary of War Henry Stimson reporting the dropping of the atomic bomb on Hiroshima and carried it to President Truman. In 1947, he shed his Naval Reserve uniform and joined the White House’s civilian staff as assistant to the special counsel to the president. In 1949, he became administrative assistant to the president, and, in 1952, he became a member of the Mutual Security Agency staff. During those years, he grew very close to Harry Truman, and thus, a major portion of An Unplanned Life relates to his experiences then.
In the first postwar winter, Elsey was frequently the only staff member who accompanied President Truman on the USS Williamsburg. In September 1946, Elsey submitted a report to Truman on U.S.-Soviet relations, which came to be well known as the “Clifford-Elsey Report.” Providing Truman with notes for some two hundred of his “back-of-the-train” informal talks, Elsey played a part in the best remembered feature of the “Whistle-Stop Campaign” that resulted in “the political upset of the century.” In addition to his years at the White House, Elsey also touches on his post–White House years—his time in private industry, his months with Clark Clifford when Clifford was trying unsuccessfully to extricate America from Vietnam, and his long association with the American Red Cross.
An Unplanned Life is a fascinating look at the life of an extraordinary individual who played an important and unprecedented part in two different presidents’ decisions and affected the course of our nation. Anyone with an interest in history will find this memoir fascinating and invaluable.
In literary and cinematic fictions, the fantastic blurs the lines between reality and fantasy. Lacking a consensus on definition, critics often describe the fantastic as supernatural, or similar to, but quite different from fantasy, science fiction, and magical realism.
In Unraveling the Real Cynthia Duncan provides a new theoretical framework for discussing how the fantastic explores both metaphysical and socially relevant themes in Spanish American fictions. Duncan deftly shows how authors and artists have used this literary genre to convey marginalized voices as well as critique colonialism, racism, sexism, and classism. Selecting examples from the works of such noted writers as Jorge Luis Borges, Julio Cortázar, and Carlos Fuentes, among others, she shows how capacious the concept is, and why it eludes standard definition.
Challenging the notion that the fantastic is escapist in nature, Unraveling the Real shows how the fantastic has been politically engaged throughout the twentieth century, often questioning what is real or unreal. Presenting a mirror image of reality, the fantastic does not promoting a utopian parallel universe but rather challenges the way we think about the world around us and the cultural legacy of colonialism.
Rini Bhattacharya Mehta considers four aspects of Indian cinema's complicated history. She begins with the industry's surprising, market-driven triumph over imports from Hollywood and elsewhere in the 1930s. From there she explores how the nationalist social melodrama outwitted the government with its 1950s cinematic lyrical manifestoes. In the 1970s, an action cinema centered on the angry young male co-opted the voice of the oppressed. Finally, Mehta examines Indian film's discovery of the global neoliberal aesthetic that encouraged the emergence of Bollywood.
Mark Silk's book is the first to offer a comprehensive description and analysis of how American news media cover religion.
Interviews with:Saul Bellow, Paul Carroll, Hayden Carruth, Robert Coover, Leon Forrest, June Jordan, Janet Kauffman, Morris Philipson, M. L. Rosenthal, Philip Roth, Susan Fromberg Shaeffer, Charles Simic, Susan Sontag, George Starbuck, George Steiner, Richard Stern, Nathaniel Tarn, Douglas Unger, Kurt Vonnegut, and Marguerite Young.
Analyses of the work of individual artists are grouped around three major themes that Asian American artists engaged with during the 1990s: representations of the Other; social memory and trauma; and migration, diaspora, and sense of place. Machida considers the work of the photographers Pipo Nguyen-duy and Hanh Thi Pham, the printmaker and sculptor Zarina Hashmi, and installations by the artists Tomie Arai, Ming Fay, and Yong Soon Min. She examines the work of Marlon Fuentes, whose films and photographs play with the stereotyping conventions of visual anthropology, and prints in which Allan deSouza addresses the persistence of Orientalism in American popular culture. Machida reflects on Kristine Aono’s museum installations embodying the multigenerational effects of the internment of Japanese Americans during World War II and on Y. David Chung’s representations of urban spaces transformed by migration in works ranging from large-scale charcoal drawings to multimedia installations and an “electronic rap opera.”
How special education used disability labels to marginalize Black students in public schools
The Unteachables examines the overrepresentation of Black students in special education over the course of the twentieth century. As African American children integrated predominantly white schools, many were disproportionately labeled educable mentally retarded (EMR), learning disabled (LD), and emotionally behavioral disordered (EBD). Keith A. Mayes charts the evolution of disability categories and how these labels kept Black learners segregated in American classrooms.
The civil rights and the educational disability rights movements, Mayes shows, have both collaborated and worked at cross-purposes since the beginning of school desegregation. Disability rights advocates built upon the opportunity provided by the civil rights movement to make claims about student invisibility at the level of intellectual and cognitive disabilities. Although special education ostensibly included children from all racial groups, educational disability rights advocates focused on the needs of white disabled students, while school systems used disability discourses to malign and marginalize Black students.
From the 1940s to the present, social science researchers, policymakers, school administrators, and teachers have each contributed to the overrepresentation of Black students in special education. Excavating the deep-seated racism embedded in both the public school system and public policy, The Unteachables explores the discriminatory labeling of Black students, and how it indelibly contributed to special education disproportionality, to student discipline and push-out practices, and to the school-to-prison pipeline effect.
Avelar starts by offering new readings of works produced before the dictatorship era, in what is often considered the boom of Latin American fiction. Distancing himself from previous celebratory interpretations, he understands the boom as a manifestation of mourning for literature’s declining aura. Against this background, Avelar offers a reassessment of testimonial forms, social scientific theories of authoritarianism, current transformations undergone by the university, and an analysis of a number of novels by some of today’s foremost Latin American writers—such as Ricardo Piglia, Silviano Santiago, Diamela Eltit, João Gilberto Noll, and Tununa Mercado. Avelar shows how the ‘untimely’ quality of these narratives is related to the position of literature itself, a mode of expression threatened with obsolescence.
This book will appeal to scholars and students of Latin American literature and politics, cultural studies, and comparative literature, as well as to all those interested in the role of literature in postmodernity.
American ruins have become increasingly prominent, whether in discussions of “urban blight” and home foreclosures, in commemorations of 9/11, or in postapocalyptic movies. In this highly original book, Nick Yablon argues that the association between American cities and ruins dates back to a much earlier period in the nation’s history. Recovering numerous scenes of urban desolation—from failed banks, abandoned towns, and dilapidated tenements to the crumbling skyscrapers and bridges envisioned in science fiction and cartoons—Untimely Ruins challenges the myth that ruins were absent or insignificant objects in nineteenth-century America.
The first book to document an American cult of the ruin, Untimely Ruins traces its deviations as well as derivations from European conventions. Unlike classical and Gothic ruins, which decayed gracefully over centuries and inspired philosophical meditations about the fate of civilizations, America’s ruins were often “untimely,” appearing unpredictably and disappearing before they could accrue an aura of age. As modern ruins of steel and iron, they stimulated critical reflections about contemporary cities, and the unfamiliar kinds of experience they enabled. Unearthing evocative sources everywhere from the archives of amateur photographers to the contents of time-capsules, Untimely Ruins exposes crucial debates about the economic, technological, and cultural transformations known as urban modernity. The result is a fascinating cultural history that uncovers fresh perspectives on the American city.
Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tirésias) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations.
Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University.
The Maoist guerrilla group Shining Path launched its violent campaign against the government in Peru’s Ayacucho region in 1980. When the military and counterinsurgency police forces were dispatched to oppose the insurrection, the violence quickly escalated. The peasant community of Sarhua was at the epicenter of the conflict, and this small village is the focus of Unveiling Secrets of War in the Peruvian Andes. There, nearly a decade after the event, Olga M. González follows the tangled thread of a public secret: the disappearance of Narciso Huicho, the man blamed for plunging Sarhua into a conflict that would sunder the community for years.
Drawing on extensive fieldwork and a novel use of a cycle of paintings, González examines the relationship between secrecy and memory. Her attention to the gaps and silences within both the Sarhuinos’ oral histories and the paintings reveals the pervasive reality of secrecy for people who have endured episodes of intense violence. González conveys how public secrets turn the process of unmasking into a complex mode of truth telling. Ultimately, public secrecy is an intricate way of “remembering to forget” that establishes a normative truth that makes life livable in the aftermath of a civil war.
Majid moves beyond Edward Said’s unmasking of orientalism in the West to examine the intellectual assumptions that have prevented a more nuanced understanding of Islam’s legacies. In addition to questioning the pervasive logic that assumes the “naturalness” of European social and political organizations, he argues that it is capitalism that has intensified cultural misunderstanding and created global tensions. Besides examining the resiliency of orientalism, the author critically examines the ideologies of nationalism and colonialist categories that have redefined the identity of Muslims (especially Arabs and Africans) in the modern age and totally remapped their cultural geographies. Majid is aware of the need for Muslims to rethink their own assumptions. Addressing the crisis in Arab-Muslim thought caused by a desire to simultaneously “catch up” with the West and also preserve Muslim cultural authenticity, he challenges Arab and Muslim intellectuals to imagine a post-capitalist, post-Eurocentric future. Critical of Islamic patriarchal practices and capitalist hegemony, Majid contends that Muslim feminists have come closest to theorizing a notion of emancipation that rescues Islam from patriarchal domination and resists Eurocentric prejudices.
Majid’s timely appeal for a progressive, multicultural dialogue that would pave the way to a polycentric world will interest students and scholars of postcolonial, cultural, Islamic, and Marxist studies.
In The Unwritten War, Daniel Aaron examines the literary output of American writers—major and minor—who treated the Civil War in their works. He seeks to understand why this devastating and defining military conflict has failed to produce more literature of a notably high and lasting order, why there is still no "masterpiece" of Civil War fiction.
In his portraits and analyses of 19th- and some 20th-century writers, Aaron distinguishes between those who dealt with the war only marginally—Henry Adams, Henry James, William Dean Howells, Mark Twain-and those few who sounded the war's tragic import—Herman Melville, Walt Whitman, and William Faulkner. He explores the extent to which the war changed the direction of American literature and how deeply it entered the consciousness of American writers. Aaron also considers how writers, especially those from the South, discerned the war's moral and historical implications.
The Unwritten War was originally published by Alfred A. Knopf in 1973. The New Republic declared, [This book's] major contribution will no doubt be to American literary history. In this respect it resembles Edmund Wilson's Patriotic Gore and is certain to become an indispensable guide for anyone who wants to explore the letters, diaries, journals, essays, novels, short stories, poems-but apparently no plays-which constitute Civil War literature. The mass of material is presented in a systematic, luminous, and useful way.
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