Throughout the nineteenth and twentieth centuries, wall charts were a familiar classroom component, displaying scientific images at a large scale, in full color. But it's only now that they've been superseded as a teaching tool that we have begun to realize something their ubiquity hid: they are stunning examples of botanical art at its finest.
This beautifully illustrated oversized book gives the humble wall chart its due, reproducing more than two hundred of them in dazzling full color. Each wall chart is accompanied by captions that offer accessible information about the species featured, the scientists and botanical illustrators who created it, and any particularly interesting or innovative features the chart displays. And gardeners will be pleased to discover useful information about plant anatomy and morphology and species differences. We see lilies and tulips, gourds, aquatic plants, legumes, poisonous plants, and carnivorous plants, all presented in exquisite, larger-than-life detail.
A unique fusion of art, science, and education, the wall charts gathered here offer a glimpse into a wonderful scientific heritage and are sure to thrill naturalists, gardeners, and artists alike.
Using the Amsterdam Municipal Orphanage as a window through which readers
can see the start of profound social and economic changes in early modern
Amsterdam, Civic Charity in a Golden Age explores the connections
between the developing capitalist economy, the functioning of the government,
and the provision of charitable services to orphans in Amsterdam during
the seventeenth and eighteenth centuries, the period of the city's greatest
prosperity and subsequent decline.
Anne McCants skillfully interprets details of the orphanage's expenditures,
especially for food; its population; the work records of those who were
reared there; and the careers of the regents who oversaw it. The establishment
of the orphanage itself was called for by the changing economic needs
of rapidly expanding commercial centers and the potential instability
of a government that depended on taxes from a large, politically powerless
segment of the population.
In the American imagination, the Soviet Union was a drab cultural wasteland, a place where playful creative work and individualism was heavily regulated and censored. Yet despite state control, some cultural industries flourished in the Soviet era, including animation. Drawing the Iron Curtain tells the story of the golden age of Soviet animation and the Jewish artists who enabled it to thrive.
Art historian Maya Balakirsky Katz reveals how the state-run animation studio Soyuzmultfilm brought together Jewish creative personnel from every corner of the Soviet Union and served as an unlikely haven for dissidents who were banned from working in other industries. Surveying a wide range of Soviet animation produced between 1919 and 1989, from cutting-edge art films like Tale of Tales to cartoons featuring “Soviet Mickey Mouse” Cheburashka, she finds that these works played a key role in articulating a cosmopolitan sensibility and a multicultural vision for the Soviet Union. Furthermore, she considers how Jewish filmmakers used animation to depict distinctive elements of their heritage and ethnic identity, whether producing films about the Holocaust or using fellow Jews as models for character drawings.
Providing a copiously illustrated introduction to many of Soyuzmultfilm’s key artistic achievements, while revealing the tumultuous social and political conditions in which these films were produced, Drawing the Iron Curtain has something to offer animation fans and students of Cold War history alike.
The seventeenth century is considered the Dutch Golden Age, a time when the Dutch were at the forefront of social change, economics, the sciences, and art. In Dutch Culture in the Golden Age, eminent historian J. L. Price goes beyond the standard descriptions of the cultural achievements of the Dutch during this time by placing these many achievements within their social context. Price’s central argument is that alongside the innovative tendencies in Dutch society and culture there were powerful conservative and reactionary forces at work—and that it was the tension between these contradictory impulses that gave the period its unique and powerful dynamic.
Dutch Culture in the Golden Age is distinctive in its broad scope, examing art, literature, religion, political ideology, theology, and scientific and intellectual trends, while also attending to the high and popular culture of the times. Price’s new interpretation of Dutch history places an emphasis on the paradox of the Dutch resistance to change as well as their general acceptance of innovation.
This comprehensive look at the Dutch Golden Age provides a fascinating new way to understand Dutch culture at the height of its historic and global influence.
During the twentieth century the Mexican government invested in the creation and promotion of a national culture more aggressively than any other state in the western hemisphere. Fragments of a Golden Age provides a comprehensive cultural history of the vibrant Mexico that emerged after 1940. Agreeing that the politics of culture and its production, dissemination, and reception constitute one of the keys to understanding this period of Mexican history, the volume’s contributors—historians, popular writers, anthropologists, artists, and cultural critics—weigh in on a wealth of topics from music, tourism, television, and sports to theatre, unions, art, and magazines. Each essay in its own way addresses the fragmentation of a cultural consensus that prevailed during the “golden age” of post–revolutionary prosperity, a time when the state was still successfully bolstering its power with narratives of modernization and shared community. Combining detailed case studies—both urban and rural—with larger discussions of political, economic, and cultural phenomena, the contributors take on such topics as the golden age of Mexican cinema, the death of Pedro Infante as a political spectacle, the 1951 “caravan of hunger,” professional wrestling, rock music, and soap operas. Fragments of a Golden Age will fill a particular gap for students of modern Mexico, Latin American studies, cultural studies, political economy, and twentieth century history, as well as to others concerned with rethinking the cultural dimensions of nationalism, imperialism, and modernization.
Contributors. Steven J. Bachelor, Quetzil E. Castañeda, Seth Fein, Alison Greene, Omar Hernández, Jis & Trino, Gilbert M. Joseph, Heather Levi, Rubén Martínez, Emile McAnany, John Mraz, Jeffrey M. Pilcher, Elena Poniatowska, Anne Rubenstein, Alex Saragoza, Arthur Schmidt, Mary Kay Vaughan, Eric Zolov
Friday Night Fighter relives a lost moment in American postwar history, when boxing ruled as one of the nation's most widely televised sports. During the 1950s and 1960s, viewers tuned in weekly, sometimes even daily, to watch widely-recognized fighters engage in primordial battle, with the Gillette Cavalcade of Sports Friday Night Fights being the most popular fight show. Troy Rondinone follows the dual narratives of the Friday Night Fights show and the individual story of Gaspar "Indio" Ortega, a boxer who appeared on primetime network television more than almost any other boxer in history. From humble beginnings growing up poor in Tijuana, Mexico, Ortega personified the phenomenon of postwar boxing at its greatest, appearing before audiences of millions to battle the biggest names of the time, such as Carmen Basilio, Tony DeMarco, Chico Vejar, Benny "Kid" Paret, Emile Griffith, Kid Gavilan, Florentino Fernández, and Luis Manuel Rodriguez.
Rondinone explores the factors contributing to the success of televised boxing, including the rise of television entertainment, the role of a "reality" blood sport, Cold War masculinity, changing attitudes toward race in America, and the influence of organized crime. At times evoking the drama and spectacle of the Friday Night Fights themselves, this volume is a lively examination of a time in history when Americans crowded around their sets to watch the main event.
Shirley Temple, Clark Gable, Errol Flynn and Olivia de Havilland, Fred Astaire and Ginger Rogers, Bette Davis, Joan Crawford and Norma Shearer, Marlene Dietrich and Greta Garbo, William Powell and Myrna Loy, Jean Harlow, and Gary Cooper-Glamour in a Golden Age presents original essays from eminent film scholars that analyze movie stars of the 1930s against the background of contemporary American cultural history.
Stardom is approached as an effect of, and influence on, the particular historical and industrial contexts that enabled these actors and actresses to be discovered, featured in films, publicized, and to become recognized and admired-sometimes even notorious-parts of the cultural landscape. Using archival and popular material, including fan and mass market magazines, other promotional and publicity material, and of course films themselves, contributors also discuss other artists who were incredibly popular at the time, among them Ann Harding, Ruth Chatterton, Nancy Carroll, Kay Francis, and Constance Bennett.
There are some two hundred TV markets in the country, but only one—Boston, Massachusetts—hosted a Golden Age of local programming. In this lively insider account, Terry Ann Knopf chronicles the development of Boston television, from its origins in the 1970s through its decline in the early 1990s. During TV’s heyday, not only was Boston the nation’s leader in locally produced news, programming, and public affairs, but it also became a model for other local stations around the country. It was a time of award-winning local newscasts, spirited talk shows, thought-provoking specials and documentaries, ambitious public service campaigns, and even originally produced TV films featuring Hollywood stars. Knopf also shows how this programming highlighted aspects of Boston’s own history over two turbulent decades, including the treatment of highly charged issues of race, sex, and gender—and the stations’ failure to challenge the Roman Catholic Church during its infamous sexual abuse scandal. Laced with personal insights and anecdotes, The Golden Age of Boston Television offers an intimate look at how Boston’s television stations refracted the city’s culture in unique ways, while at the same time setting national standards for television creativity and excellence.
The seventeenth century heralded a golden age of exploration, as intrepid travelers sailed around the world to gain firsthand knowledge of previously unknown continents. These explorers also collected the world’s most beautiful flora, and often their findings were recorded for posterity by talented professional artists. The Golden Age of Botanical Art tells the story of these exciting plant-hunting journeys and marries it with full-color reproductions of the stunning artwork they produced. Covering work through the nineteenth century, this lavishly illustrated book offers readers a look at 250 rare or unpublished images by some of the world’s most important botanical artists.
Truly global in its scope, The Golden Age of Botanical Art features work by artists from Europe, China, and India, recording plants from places as disparate as Africa and South America. Martyn Rix has compiled the stories and art not only of well-known figures—such as Leonardo da Vinci and the artists of Empress Josephine Bonaparte—but also of those adventurous botanists and painters whose names and work have been forgotten. A celebration of both extraordinarily beautiful plant life and the globe-trotting men and women who found and recorded it, The Golden Age of Botanical Art will enchant gardeners and art lovers alike.
At one time every station in Chicago—a maximum of five, until 1964–produced or aired some programming for children. From the late 1940’s through the early 1970’s, local television stations created a golden age of children’s television unique in American broadcasting. Though the shows often operated under strict budgetary constraints, these programs were rich in imagination, inventiveness, and devoted fans. Now, discover the back stories and details of this special era from the people who created, lived, and enjoyed it—producers, on-air personalities, and fans.
This collection focuses on the introduction of phenomenology to the United States by the community of scholars who taught and studied at the New School for Social Research from 1954 through 1973. During those years, Dorion Cairns, Alfred Schutz, and Aron Gurwitsch—all former students of Edmund Husserl—came together in the department of philosophy to establish the first locus of phenomenology scholarship in the country. This founding trio was soon joined by three other prominent scholars in the field: Werner Marx, Thomas M. Seebohm, and J. N. Mohanty. The Husserlian phenomenology that they brought to the New School has subsequently spread through the Anglophone world as the tradition of Continental philosophy.
The first part of this volume includes original works by each of these six influential teachers of phenomenology, introduced either by one of their students or, in the case of Seebohm and Mohanty, by the thinkers themselves. The second part comprises contributions from twelve leading scholars of phenomenology who trained at the New School during this period. The result is a powerful document tracing the lineage and development of phenomenology in the North American context, written by members of the first two generations of scholars who shaped the field.
Contributors: Michael Barber, Lester Embree, Jorge García-Gómez, Fred Kersten, Thomas M. T. Luckmann, William McKenna, J. N. Mohanty, Giuseppina C. Moneta, Thomas Nenon, George Psathas, Osborne P. Wiggins, Matthew M. Seebohm, and Richard M. Zaner.
In a masterful study Carl 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 Civil War led to a radical alteration of the educational system in a way that steadily eroded the preeminence of the classics.
Stories of sportsmen past come to life in History Afield, an account of the many and varied sporting pursuits that are part of the Wisconsin tradition. Author and outdoorsman Robert Willging shares more than two dozen tales of Wisconsin sporting history, highlighting the hunt for waterfowl, upland birds, and deer; trout fishing in wild north Wisconsin rivers; and recreating at early Wisconsin lakeside resorts.
Anecdotes of fishing exploits on our plentiful waterways and presidential visits to northern Wisconsin reveal a unique slice of sporting culture, and chapters on live decoys and the American Water Spaniel demonstrate the human-animal bond that has played such a large part in that history. Tales of nature’s fury include a detailed account of the famous Armistice Day storm, as well as the dangers of ice fishing on Lake Superior. These historical musings and perspectives on sporting ethos provide a strong sense of the lifestyle that Willging has preserved for our new century.
Featuring first-hand interviews and a variety of historic photos depicting the Wisconsin sporting life, History Afield shows how the intimate relationship between humans and nature shaped this important part of the state’s heritage.
“I was suddenly struck with the sight of a trail of rich red vegetation of several miles in the midst of the eternal snows. I approached with curiosity this oasis in the frozen desert.”
An antique-shop owner gets a glimpse of the Red Planet through an intriguing artifact. A Martian’s wife contemplates the possibility of life on Earth. A resident of Venus describes his travels across the two alien planets. From an arid desert to an advanced society far superior to that of Earth, portrayals of Mars have differed radically in their attempts to uncover the truth about our neighboring planet.
Since the 1880s, after an astronomer first described “channels” on the surface of Mars, writers have been fascinated with the planet, endlessly speculating on what life on Mars might look like and what might happen should we make contact with the planet's inhabitants. This wonderful collection offers ten wildly imaginative short stories from the golden age of science fiction by such classic sci-fi writers as H.G. Wells, Ray Bradbury, and J. G. Ballard, as well as hard-to-find stories by unjustly forgotten writers from the genre.
Assembled and introduced by acclaimed anthologist Mike Ashley, these stories vividly evoke a time when notions of life on other planets—from vegetation and water to space invaders and utopian societies—were new and startling. As we continue to imagine landing people on Mars, these stories are well worth revisiting as gripping and vivid dispatches from futurists past.
For many nineteenth-century Russians, poetry was woven into everyday life—in conversation and correspondence, scrapbook albums, and parlor entertainments. Blending close literary analysis with social and cultural history, Daria Khitrova shows how poetry lovers of the period all became nodes in a vast network of literary appreciation and constructed meaning. Poetry during the Golden Age was not a one-way avenue from author to reader. Rather, it was participatory, interactive, and performative. Lyric Complicity helps modern readers recover Russian poetry’s former uses and functions—life situations that moved people to quote or perform a specific passage from a poem or a forgotten occasion that created unforgettable verse.
In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
In Mexican Melodrama, Elena Lahr-Vivaz explores the compelling ways that new-wave Mexican directors use the tropes and themes of Golden Age films to denounce the excesses of a nation characterized as a fragmented and fictitious construct. Analyzing big hits and quiet successes of both Golden Age and new-wave cinema, the author offers in each chapter a comparative reading of films from the two eras, considering, for instance, Amores perros (Love’s a Bitch, Alejandro González Iñárritu, 2000) alongside Nosotros los pobres (We the Poor, Ismael Rodríguez, 1947). Through such readings, Lahr-Vivaz examines how new-wave directors draw from a previous generation to produce meaning in the present.
Mexico’s Golden Age of film—the period from the 1930s to the 1950s—is considered “golden” due to both the prestige of the era’s stars and the critical and popular success of the films released. Golden Age directors often turned to the tropes of melodrama and allegory to offer spectators an image of an idealized Mexico and to spur the formation of a spectatorship united through shared tears and laughter. In contrast, Lahr-Vivaz demonstrates that new-wave directors of the 1990s and 2000s use the melodramatic mode to present a vision of fragmentation and to open a space for critical resistance. In so doing, new-wave directors highlight the limitations rather than the possibilities of a unified spectatorship, and point to the need for spectators to assume a critical stance in the face of the exigencies of the present.
Written in an accessible style, Mexican Melodrama offers a timely comparative analysis of critically acclaimed films that will serve as key referents in discussions of Mexican cinema for years to come.
Instructive, amusing, colorful—pictorial maps have been used and admired since the first medieval cartographer put pen to paper depicting mountains and trees across countries, people and objects around margins, and sea monsters in oceans. More recent generations of pictorial map artists have continued that traditional mixture of whimsy and fact, combining cartographic elements with text and images and featuring bold and arresting designs, bright and cheerful colors, and lively detail. In the United States, the art form flourished from the 1920s through the 1970s, when thousands of innovative maps were mass-produced for use as advertisements and decorative objects—the golden age of American pictorial maps.
Picturing America is the first book to showcase this vivid and popular genre of maps. Geographer Stephen J. Hornsby gathers together 158 delightful pictorial jewels, most drawn from the extensive collections of the Library of Congress. In his informative introduction, Hornsby outlines the development of the cartographic form, identifies several representative artists, describes the process of creating a pictorial map, and considers the significance of the form in the history of Western cartography. Organized into six thematic sections, Picturing America covers a vast swath of the pictorial map tradition during its golden age, ranging from “Maps to Amuse” to “Maps for War.” Hornsby has unearthed the most fascinating and visually striking maps the United States has to offer: Disney cartoon maps, college campus maps, kooky state tourism ads, World War II promotional posters, and many more. This remarkable, charming volume’s glorious full-color pictorial maps will be irresistible to any map lover or armchair traveler.
In this original and lucid account of how Spanish painters of the 16th and 17th centuries dealt with mystic visions in their art, and of how they attempted to "represent the unrepresentable", Victor Stoichita aims to establish a theory of visionary imagery in Western art in general, and one for the Spanish Counter-Reformation in particular. He reveals how the spirituality of the Counter-Reformation was characterized by a rediscovery of the role of the imagination in the exercise of faith. This had important consequences for painters such as Velazquez, Zurbaran and El Greco, leading to the development of ingenious solutions for visual depictions of mystical experience. This was to crystallize into an overtly meditative and didactic pictorial language.
That Spanish painting is both cerebral and passionate is due to the particular historical forces which shaped it. Stoichita's account will be of crucial interest not just to scholars of Spanish art but to anyone interested in how art responds to ideological pressures.