Why did the United States become a global power? Frank Ninkovich shows that a cultural predisposition for thinking in global terms blossomed in the late nineteenth century, making possible the rise to world power as American liberals of the time took a wide-ranging interest in the world. At the center of their attention was the historical process they called “civilization,” whose most prominent features—a global economy, political democracy, and a global culture—anticipated what would later come to be known as globalization.
The continued spread of civilization, they believed, provided the answer to worrisome contemporary problems such as the faltering progress of democracy, a burgeoning arms race in Europe, and a dangerous imperialist competition. In addition to transforming international politics, a global civilization quickened by commercial and cultural exchanges would advance human equality and introduce the modern industrial way of life to traditional societies. Consistent with their universalist outlook, liberal internationalists also took issue with scientific racism by refusing to acknowledge racial hierarchy as a permanent feature of relations with nonwhite peoples.
Of little practical significance during a period when isolationism reigned supreme in U.S. foreign policy, this rich body of thought would become the cultural foundation of twentieth-century American internationalism.
Transference of orientalist images and identities to the American landscape and its inhabitants, especially in the West—in other words, portrayal of the West as the “Orient”—has been a common aspect of American cultural history. Place names, such as the Jordan River or Pyramid Lake, offer notable examples, but the imagery and its varied meanings are more widespread and significant. Understanding that range and significance, especially to the western part of the continent, means coming to terms with the complicated, nuanced ideas of the Orient and of the North American continent that European Americans brought to the West. Such complexity is what historical geographer Richard Francaviglia unravels in this book.
Since the publication of Edward Said’s book, Orientalism, the term has come to signify something one-dimensionally negative. In essence, the orientalist vision was an ethnocentric characterization of the peoples of Asia (and Africa and the “Near East”) as exotic, primitive “others” subject to conquest by the nations of Europe. That now well-established point, which expresses a postcolonial perspective, is critical, but Francaviglia suggest that it overlooks much variation and complexity in the views of historical actors and writers, many of whom thought of western places in terms of an idealized and romanticized Orient. It likewise neglects positive images and interpretations to focus on those of a decadent and ostensibly inferior East.
We cannot understand well or fully what the pervasive orientalism found in western cultural history meant, says Francaviglia, if we focus only on its role as an intellectual engine for European imperialism. It did play that role as well in the American West. One only need think about characterizations of American Indians as Bedouins of the Plains destined for displacement by a settled frontier. Other roles for orientalism, though, from romantic to commercial ones, were also widely in play. In Go East, Young Man, Francaviglia explores a broad range of orientalist images deployed in the context of European settlement of the American West, and he unfolds their multiple significances.
In a masterful study, Carl J. Richard explores how the Greek and Roman classics became enshrined in American antebellum culture. For the first time, knowledge of the classics extended beyond aristocratic males to the middle class, women, African Americans, and frontier settlers.
The classics shaped how Americans interpreted developments around them. The example of Athens allowed politicians of the democratic age to espouse classical knowledge without seeming elitist. The Industrial Revolution produced a backlash against utilitarianism that centered on the classics. Plato and other ancients had a profound influence on the American romantics who created the first national literature, and pious Christians in an age of religious fervor managed to reconcile their faith with the literature of a pagan culture. The classics supplied both sides of the slavery debate with their chief rhetorical tools: the Aristotelian defense of slavery to Southern slaveholders and the concept of natural law to the Northern abolitionists.
The Civil War led to a radical alteration of the educational system in a way that steadily eroded the preeminence of the classics. They would never regain the profound influence they held in the antebellum era.
Tattoos and graffiti immediately bring to mind contemporary urban life and its inhabitants. But in fact, both practices date back much further than is generally thought—even by scholars. Drawing on a previously unavailable archive, Juliet Fleming reveals the unknown and disregarded literary arts of sixteenth century England.
In Graffiti and the Writing Arts of Early Modern England, Fleming argues that our modern assumptions of what constitutes written expression have limited our access to and understanding of early modern history and writing. Fleming combines detailed historical scholarship with intellectual daring in a work that describes how writing practices have not been limited to the boundaries of the page; instead they have included body surfaces, ceramics, ceilings, walls, and windows.
Moving beyond what has been preserved in print and manuscript, this book claims the whitewashed wall as the primary textual canvas of the early modern English, explores the tattooing practices of sixteenth-century Europeans, and uncovers the poetics of ceramic cookware. Graffiti and the Writing Arts of Early Modern England will provide a startling new perspective for scholars of early modern literature and cultural history.
A sweeping history of southeastern Europe from antiquity to the present that reveals it to be a vibrant crossroads of trade, ideas, and religions.
We often think of the Balkans as a region beset by turmoil and backwardness, but from late antiquity to the present it has been a dynamic meeting place of cultures and religions. Combining deep insight with narrative flair, The Great Cauldron invites us to reconsider the history of this intriguing, diverse region as essential to the story of global Europe.
Marie-Janine Calic reveals the many ways in which southeastern Europe’s position at the crossroads of East and West shaped continental and global developments. The nascent merchant capitalism of the Mediterranean world helped the Balkan knights fight the Ottomans in the fifteenth century. The deep pull of nationalism led a young Serbian bookworm to spark the conflagration of World War I. The late twentieth century saw political Islam spread like wildfire in a region where Christians and Muslims had long lived side by side. Along with vivid snapshots of revealing moments in time, including Krujë in 1450 and Sarajevo in 1984, Calic introduces fascinating figures rarely found in standard European histories. We meet the Greek merchant and poet Rhigas Velestinlis, whose revolutionary pamphlet called for a general uprising against Ottoman tyranny in 1797. And the Croatian bishop Ivan Dominik Stratiko, who argued passionately for equality of the sexes and whose success with women astonished even his friend Casanova.
Calic’s ambitious reappraisal expands and deepens our understanding of the ever-changing mixture of peoples, faiths, and civilizations in this much-neglected nexus of empire.
Carlos Rojas presents a sweeping survey of the historical and political significance of one of the world’s most recognizable monuments. Although the splendor of the Great Wall has become virtually synonymous with its vast size, the structure’s conceptual coherence is actually grounded on the tenuous and ephemeral stories we tell about it. These stories give life to the Wall and help secure its hold on our collective imagination, while at the same time permitting it to constantly reinvent itself in accordance with the needs of each new era.
Through an examination of allusions to the Wall in an eclectic array of texts—ranging from official dynastic histories, elite poetry, and popular folktales, to contemporary tourist testimonials, children’s songs, and avant-garde performance art—this study maps out a provocative new framework for understanding the structure’s function and significance.
This volume approaches the Wall through the stories we tell and contends that it is precisely in this cultural history that we may find the Wall’s true meaning, together with the secret of its greatness.
"China" and "the West," "us" and "them," the "subject" and the "non-subject"--these and other dualisms furnish China watchers, both inside and outside China, with a pervasive, ready-made set of definitions immune to empirical disproof. But what does this language of essential difference accomplish? The essays in this book are an attempt to cut short the recitation of differences and to answer this question.
In six interpretive studies of China, the author examines the ways in which the networks of assumption and consensus that make communication possible within a discipline affect collective thinking about the object of study. Among other subjects, these essays offer a historical and historiographical introduction to the problem of comparison and deal with translation, religious proselytization, semiotics, linguistics, cultural bilingualism, writing systems, the career of postmodernism in China, and the role of China as an imaginary model for postmodernity in the West. Against the reigning simplifications, these essays seek to restore the interpretation of China to the complexity and impurity of the historical situations in which it is always caught.
The chief goal of the essays in this book is not to expose errors in interpreting China but to use these misunderstandings as a basis for devising better methodologies for comparative studies.
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