The Courteous Power seeks to provide a nuanced view of the current relationship between Japan and Southeast Asia. Much of the current scholarship on East–Southeast Asian engagement has focused on the multidimensional chess game playing out between China and Japan, as the dominant post-imperialist powers. Alternatively, there has been renewed attention on ASEAN and other Southeast Asian–centered initiatives, explicitly minimizing the influence of East Asia in the region. Given the urgency of understanding the careful balance in the Indo-Pacific region, this volume brings together scholars to examine the history and current engagement from a variety of perspectives, ranging from economic and political, to the cultural and technological, while also focusing more clearly on the specific relationship between the region and Japan.
Craft is a diverse, democratic art form practiced by Americans of every gender, age, ethnicity, and class. Crafting America traces this expansive range of skilled making in a variety of forms, from ceramics and wood to performance costume and community-based practice. In exploring the intertwining of craft and American experience, this volume reveals how artists leverage their craft to realize the values of life, liberty, and the pursuit of happiness.
Accompanying an exhibition of the same title organized by Crystal Bridges Museum of American Art, Crafting America features contributions from scholars that illuminate craft’s relationship to ritual and memory, personal independence, abstraction, and Native American histories. The richly illustrated catalog section—with more than a hundred color images accompanied by lively commentary—presents a vivid picture of American craft over the past eight decades, offering fresh insights on the relationships between objects.
Building upon recent advances in craft scholarship and encouraging more inclusive narratives, Crafting America presents a bold statement on the vital role of craft within the broader context of American art and identity.
Hsu’s ethnographic research, conducted in the city of Harbin in northwestern China, included participant observation at twenty workplaces and interviews with working adults from a range of professions. By analyzing the shared stories about status and class, jobs and careers, and aspirations and hopes that circulate among Harbiners from all walks of life, Hsu reveals the logic underlying the emerging stratification system. In the post-socialist era, Harbiners must confront a fast-changing and bewildering institutional landscape. Their collective narratives serve to create meaning and order in the midst of this confusion. Harbiners collectively agree that “intellectuals” (scientists, educators, and professionals) are the most respected within the new social order, because they contribute the most to Chinese society, whether that contribution is understood in terms of traditional morality, socialist service, or technological and economic progress. Harbiners understand human capital as an accurate measure of a person’s status. Their collective narratives about suzhi shape their career choices, judgments, and child-rearing practices, and therefore the new practices and institutions developing in post-socialist China.
“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.
This book foregrounds some of the ways in which women playwrights from across a range of contexts and working in a variety of forms and styles are illuminating the contemporary world while also contributing to its reshaping as they reflect, rethink, and reimagine it through their work for the stage. The book is framed by a substantial introduction that sets forth the critical vision and structure of the book as a whole, and an afterword that points toward emerging currents in and expansions of the contemporary field of playwriting by women on the cusp of the third decade of the twenty-first century. Within this frame, the twenty-eight chapters that form the main body of the book, each focusing on a single play of critical significance, together constitute a multi-faceted, inevitably partial, yet nonetheless integral picture of the work of women playwrights since 2000 as they engage with some of the most pressing issues of our time. Some of these issues include the continuing oppression of and violence against women, people of color, LGBTQ+ people, and ethnic minorities; the ongoing processes of decolonization; the consequences of neoliberal capitalism; the devastation and enduring trauma of war; global migration and the refugee crisis; the turn to right-wing populism; and the impact of climate change, including environmental disaster and species extinction.
The book is structured into seven sections: Replaying the Canon; Representing Histories; Staging Lives; Re-imagining Family; Navigating Communities; Articulating Intersections; and New World Order(s). These sections group clusters of plays according to the broad critical actions they perform or, in the case of the final section, the new world orders that they capture through their stagings of the seeming impasse of the politically and environmentally catastrophic global present moment. There are many other points of resonance among and across the plays, but this seven-part structure foregrounds the broader actions that drive the plays, both in the Aristotelian dramaturgical sense and in the larger sense of the critical interventions that the plays creatively enact. In this way, the seven-part structure establishes correspondences across the great diversity of dramatic material represented in the book while at the same time identifying key methods of critical approach and areas of focus that align the book’s contributors across this diversity. The structure of the book thus parallels what the playwrights themselves are doing, but also how the contributors are approaching their work. Plays featured in the book are from Canada, Australia, South Africa, the US, the UK, France, Argentina, New Zealand, Syria, Brazil, Italy, and Austria; the playwrights include Margaret Atwood, Leah Purcell, Yaël Farber, Paula Vogel, Adrienne Kennedy, Suzan-Lori Parks, debbie tucker green, Lisa Loomer, Hélène Cixous. Anna Deavere Smith, Lola Arias, Lisa Kron and Jeanine Tesori, Marie Clements, Quiara Alegría Hudes, Alia Bano, Holly Hughes, Whiti Hereaka, Julia Cho, Liwaa Yazji, Grace Passô, Dominique Morisseau, Emma Dante, Frances Ya-Chu Cowhig, Lynn Nottage, Elfriede Jelinek, Caryl Churchill, Colleen Murphy, and Lucy Kirkwood.
Encompassing several generations of playwrights and scholars, ranging from the most senior to mid-career to emerging voices, the book will be essential reading for established researchers, a valuable learning resource for students at all levels, and a useful and accessible guide for theatre practitioners and interested theatre-goers.
Franco draws on human-rights documents, memoirs, testimonials, novels, and films, as well as photographs and art works, to explore not only cruel acts but the discriminatory thinking that made them possible, their long-term effects, the precariousness of memory, and the pathos of survival.
The collapse of the Soviet Union in 1989 drastically altered life in Cuba. Theatre artists were faced with new economic and social realities that changed their day-to-day experiences and ways of looking at the world beyond the island. The Cuban Revolution’s resistance to and intersections with globalization, modernity, emigration and privilege are central to the performances examined in this study. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances that support, challenge, and transgress boundaries of exile and nationalism. Prizant reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. This close examination of seven plays written since 1985 seeks to alter how U.S. audiences perceive Cuba, its circumstances, and its theatre.
The Cuban economy has been transformed over the course of the last decade, and these changes are now likely to accelerate. In this edited volume, prominent Cuban economists and sociologists present a clear analysis of Cuba’s economic and social circumstances and suggest steps for Cuba to reactivate economic growth and improve the welfare of its citizens. These authors focus first on trade, capital inflows, exchange rates, monetary and fiscal policy, and the agricultural sector. In a second section, a multidisciplinary team of sociologists and an economist map how reforms in economic and social policies have produced declines in the social standing of some specific groups and economic mobility for others.
A joint collaboration between scholars at Harvard University and in Cuba, this book includes the same editors and many of the same authors of The Cuban Economy at the Start of the Twenty-First Century (edited by Jorge I. Domínguez, Omar Everleny Pérez Villanueva, and Lorena G. Barberia), which is also part of the David Rockefeller Center series.
While most books and articles on Cuba seek to analyse the island’s socialist experiment from the perspective of internal dynamics or international relations, this book attempts to understand the revolutionary process as part of a counter-current against neoliberal globalisation.
Rather than presenting Cuba as a socialist survivor, whose performance must be measured against the standards set by the ‘international community’, George Lambie judges Cuban socialism on the goals which the revolution sets for itself. He shows that despite Cuba’s isolation in the ‘New World Order’, and the enormous pressures it has faced to ‘conform’, its faith in an alternative socialist project has continued and grown.
Now that neoliberalism is in crisis, Cuba’s promotion of socialist values is finding a renewed relevance. In this fascinating study Lambie argues that Cuba is again becoming a symbol, and practical example, of socialism in action. This book is essential reading for students of politics and Latin American studies.
This book provides the first in-depth, wide-scope treatment of da’wa. A term difficult to translate, da’wa covers a semantic field ranging from the call or invitation to Islam, to religious preaching and proselytizing, to the mission and message of Islam. Historically da’wa has been directed outward to nonbelievers, but in modern times it has turned increasingly inward to “straying” Muslims. While the media and many scholars have focused on extremism and militant groups that have raised the banner of jihad, this volume argues that da’wa, not jihad, forms the backbone of modern Islamic politics and religiosity, and that the study of da’wa is essential for understanding contemporary Islamic politics as well as jihadist activity. Contributors represent a variety of approaches and come from a range of academic, religious, and national backgrounds. In these essays, they analyze the major discourses of da’wa, their embodiment in the major Islamic movements of the twentieth century, and their transformation into new forms of activism through the media, the state, and jihadi groups—including al-Qaeda and ISIS—in the twenty-first century.
"Irene Taviss Thomson gives us a nuanced portrait of American social politics that helps explain both why we are drawn to the idea of a 'culture war' and why that misrepresents what is actually going on."
---Rhys H. Williams, Professor and Chair, Department of Sociology, Loyola University Chicago
"An important work showing---beneath surface conflict---a deep consensus on a number of ideals by social elites."
---John H. Evans, Department of Sociology, University of California, San Diego
The idea of a culture war, or wars, has existed in America since the 1960s---an underlying ideological schism in our country that is responsible for the polarizing debates on everything from the separation of church and state, to abortion, to gay marriage, to affirmative action. Irene Taviss Thomson explores this notion by analyzing hundreds of articles addressing hot-button issues over two decades from four magazines: National Review, Time, The New Republic, and The Nation, as well as a wide array of other writings and statements from a substantial number of public intellectuals.
What Thomson finds might surprise you: based on her research, there is no single cultural divide or cultural source that can account for the positions that have been adopted. While issues such as religion, homosexuality, sexual conduct, and abortion have figured prominently in public discussion, in fact there is no single thread that unifies responses to each of these cultural dilemmas for any of the writers.
Irene Taviss Thomson is Professor Emeritus of Sociology, having taught in the Department of Social Sciences and History at Fairleigh Dickinson University for more than 30 years. Previously, she taught in the Department of Sociology at Harvard University.
Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics.
The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.
"Rosas's compelling theory and wide-ranging empirical evidence yield a persuasive but surprising conclusion in light of the financial meltdown of 2008–9. In the event of banking crises, not only do elected governments treat taxpayers better and force bankers and their creditors to pay more for their mistakes, but bankers in democracies are more prudent as a consequence . . . essential reading for all interested in the political economy of crisis and in the future of banking regulation."
---Philip Keefer, Lead Economist, Development Research Group, The World Bank
"Rosas convincingly demonstrates how democratic accountability affects the incidence and resolution of banking crises. Combining formal models, case studies, and cutting-edge quantitative methods, Rosas's book represents a model for political economy research."
---William Bernhard, Professor, Department of Political Science, University of Illinois
"When the financial crises of the 1990s hit Asia, Russia, and Latin America, the U.S. scolded them about the moral hazard problems of bailing out the banks. Now, the shoe is on the other foot, with the U.S. struggling to manage an imploding financial sector. Rosas's study of bank bailouts could not be more timely, providing us with both a framework for thinking about the issue and some sobering history of how things go both right and badly wrong. Democratic accountability proves the crucial factor in making sure bailouts are fair, a point that is as relevant for U.S. policy as for an understanding of the emerging markets."
---Stephan Haggard, Krause Professor, Graduate School of International Relations and Pacific Studies, University of California, San Diego
Banking crises threaten the stability and growth of economies around the world. In response, politicians restore banks to solvency by redistributing losses from bank shareholders and depositors to taxpayers, and the burden the citizenry must bear varies from case to case. Whereas some governments stay close to the prescriptions espoused by Sir Walter Bagehot in the nineteenth century that limit the costs shouldered by taxpayers, others engage in generous bank bailouts at great cost to society. What factors determine a government's response?
In this comparative analysis of late-twentieth-century banking crises, Guillermo Rosas identifies political regime type as the determining factor. During a crisis, powerful financial players demand protection of their assets. Rosas maintains that in authoritarian regimes, government officials have little to shield them from such demands and little incentive for rebuffing them, while in democratic regimes, elected officials must weigh these demands against the interests of the voters---that is, the taxpayers. As a result, compared with authoritarian regimes, democratic regimes show a lower propensity toward dramatic, costly bailouts.
Guillermo Rosas is Assistant Professor in the Department of Political Science and Fellow at the Center in Political Economy at Washington University in St. Louis.
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