front cover of Cultural Memory
Cultural Memory
Resistance, Faith, and Identity
By Jeanette Rodriguez and Ted Fortier
University of Texas Press, 2007
<p>Sangre llama a sangre. (Blood cries out to blood.)—Latin American aphorism</p><p>The common "blood" of a people&mdash;that imperceptible flow that binds neighbor to neighbor and generation to generation&mdash;derives much of its strength from cultural memory. Cultural memories are those transformative historical experiences that define a culture, even as time passes and it adapts to new influences. For oppressed peoples, cultural memory engenders the spirit of resistance; not surprisingly, some of its most powerful incarnations are rooted in religion. In this interdisciplinary examination, Jeanette Rodriguez and Ted Fortier explore how four such forms of cultural memory have preserved the spirit of a particular people.</p><p><i>Cultural Memory</i> is not a comparative work, but it is a multicultural one, with four distinct case studies: the image of Our Lady of Guadalupe and the devotion it inspires among Mexican Americans; the role of secrecy and ceremony among the Yaqui Indians of Arizona; the evolving narrative of Archbishop Oscar Romero of San Salvador as transmitted through the church of the poor and the martyrs; and the syncretism of Catholic Tzeltal Mayans of Chiapas, Mexico. In each case, the authors' religious credentials eased the resistance encountered by social scientists and other researchers. The result is a landmark work in cultural studies, a conversation between a liberation theologian and a cultural anthropologist on the religious nature of cultural memory and the power it brings to those who wield it.</p>
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Culture Incorporated
Museums, Artists, And Corporate Sponsorships
Mark W. Rectanus
University of Minnesota Press, 2002
An exposé of the hidden costs of corporate funding of the arts. Photographer Annie Leibowitz collaborates with American Express on a portrait exhibition. Absolut Vodka engages artists for their advertisements. Philip Morris mounts an "Arts Against Hunger" campaign in partnership with prominent museums. Is it art or PR, and where is the line that separates the artistic from the corporate? According to Mark Rectanus, that line has blurred. These mergers of art, business, and museums, he argues, are examples of the worldwide privatization of cultural funding. In Culture Incorporated, Rectanus calls for full disclosure of corporate involvement in cultural events and examines how corporations, art institutions, and foundations are reshaping the cultural terrain. In turn, he also shows how that ground is destabilized by artists subverting these same institutions to create a heightened awareness of critical alternatives. Rectanus exposes how sponsorship helps maintain social legitimation in a time when corporations are the target of significant criticism. He provides wide-ranging examples of artists and institutions grappling with corporate sponsorship, including artists' collaboration with sponsors, corporate sponsorship of museum exhibitions, festivals, and rock concerts, and cybersponsoring. Throughout, Rectanus analyzes the convergence of cultural institutions with global corporate politics and its influence on our culture and our communities. Mark W. Rectanus is professor of German at Iowa State University.
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The Culture of Public Problems
Drinking-Driving and the Symbolic Order
Joseph R. Gusfield
University of Chicago Press, 1980
"Everyone knows 'drunk driving' is a 'serious' offense. And yet, everyone knows lots of 'drunk drivers' who don't get involved in accidents, don't get caught by the police, and manage to compensate adequately for their 'drunken disability.' Everyone also knows of 'drunk drivers' who have been arrested and gotten off easy. Gusfield's book dissects the conventional wisdom about 'drinking-driving' and examines the paradox of a 'serious' offense that is usually treated lightly by the judiciary and rarely carries social stigma."—Mac Marshall, Social Science and Medicine

"A sophisticated and thoughtful critic. . . . Gusfield argues that the 'myth of the killer drunk' is a creation of the 'public culture of law.' . . . Through its dramatic development and condemnation of the anti-social character of the drinking-driver, the public law strengthens the illusion of moral consensus in American society and celebrates the virtues of a sober and orderly world."—James D. Orcutt, Sociology and Social Research

"Joseph Gusfield denies neither the role of alcohol in highway accidents nor the need to do something about it. His point is that the research we conduct on drinking-driving and the laws we make to inhibit it tells us more about our moral order than about the effects of drinking-driving itself. Many will object to this conclusion, but none can ignore it. Indeed, the book will put many scientific and legal experts on the defensive as they face Gusfield's massive erudition, pointed analysis and criticism, and powerful argumentation. In The Culture of Public Problems, Gusfield presents the experts, and us, with a masterpiece of sociological reasoning."—Barry Schwartz, American Journal of Sociology

This book is truly an outstanding achievement. . . . It is sociology of science, sociology of law, sociology of deviance, and sociology of knowledge. Sociologists generally should find the book of great theoretical interest, and it should stimulate personal reflection on their assumptions about science and the kind of consciousness it creates. They will also find that the book is a delight to read."—William B. Bankston, Social Forces


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Curating Research Data Volume One
Practical Strategies for Your Digital Repository
Lisa R. Johnston
Assoc of College & Research Libraries, 2017

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Curating Research Data Volume Two
A Handbook of Current Practice
Lisa R. Johnston
Assoc of College & Research Libraries, 2017

front cover of Currency of the Heart
Currency of the Heart
A Year of Investing, Death, Work, and Coins
Donald Nichols
University of Iowa Press
In 1998, Don Nichols returned regularly to Iowa from his life and job in Washington, D.C., to be with his dying father and to oversee his parents’ investments. A veteran investor and investment author, Nichols found that managing the portfolio entrusted to him brought a larger understanding of mortality, family, love, work, and the choices he had made as “an agri-kid who took the road out of town and kept going.” In this insightful and money-wise book that grew out of that experience, he merges the emotions of a dutiful son with the actions of a knowledgeable investor.

Nichols uses money in myriad forms—a grandfather‘s silver dollar, stocks and bonds, salaries, pallets of coins at the U.S. Mint, on-the-job dealings with coin collectors—as touchstones for reflections on relationships, motives, and a career "like one of those moving walkways in airports." His father's health is measured, tested, and evaluated in part by the health of his finances; at the same time, the turmoil and mystery surrounding both money and relationships are reflected in this memorable story.
Wry, unsentimental, and financially savvy, Currency of the Heart is about rediscovering family, managing a portfolio, honoring promises, grieving, and healing; it is about a father and a son who once “fought like medieval villagers in a Thirty Years‘ War” and the deepening bond between a middle-age son and his aging mother. It is a multilayered story for everyone who will manage, financially and emotionally, a parent's death.
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Customer-Based Collection Development
An Overview
Karl Bridges
American Library Association, 2014

front cover of CUT LOOSE
CUT LOOSE
(Mostly) Older Women on the End of their (Mostly) Long-Term Relationships
Bauer-Maglin, Nan
Rutgers University Press, 2006

Although breakups—whether celebrity or everyday—are a constant source of fascination, surprisingly little attention has been given to women who are cut loose in their later years. This is a book about (mostly) long-term relationships that have come apart. Each woman involved, the majority of whom are over sixty, tells of her experience through journal entries, essays, poetry, or stories. Although in many senses they have been abandoned, they have also been set free, untethered, and, for some, liberated sexually, mentally, or emotionally.

The book is divided into two major sections. The pieces in the first part are personal narratives. Among the varied voices, we hear from women in both heterosexual and same-sex relationships who have been left by their partners or who have decided to leave them. In the second section, the contributors look at being left and leaving from psychological, sociological, economic, sexual, medical, anthropological, and literary perspectives. Other essays explore the shared experiences of specific classes of women, such as single women, widows, or abandoned daughters.

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