It isn’t just in recent arguments over the teaching of intelligent design or reciting the pledge of allegiance that religion and education have butted heads: since their beginnings nearly two centuries ago, public schools have been embroiled in heated controversies over religion’s place in the education system of a pluralistic nation. In this book, Benjamin Justice and Colin Macleod take up this rich and significant history of conflict with renewed clarity and astonishing breadth. Moving from the American Revolution to the present—from the common schools of the nineteenth century to the charter schools of the twenty-first—they offer one of the most comprehensive assessments of religion and education in America that has ever been published.
From Bible readings and school prayer to teaching evolution and cultivating religious tolerance, Justice and Macleod consider the key issues and colorful characters that have shaped the way American schools have attempted to negotiate religious pluralism in a politically legitimate fashion. While schools and educational policies have not always advanced tolerance and understanding, Justice and Macleod point to the many efforts Americans have made to find a place for religion in public schools that both acknowledges the importance of faith to so many citizens and respects democratic ideals that insist upon a reasonable separation of church and state. Finally, they apply the lessons of history and political philosophy to an analysis of three critical areas of religious controversy in public education today: student-led religious observances in extracurricular activities, the tensions between freedom of expression and the need for inclusive environments, and the shift from democratic control of schools to loosely regulated charter and voucher programs.
Altogether Justice and Macleod show how the interpretation of educational history through the lens of contemporary democratic theory offers both a richer understanding of past disputes and new ways of addressing contemporary challenges.
Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork—about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris’s essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume’s many illustrations, provide an invaluable record of the recent thought of a major American artist.
The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.
I enjoyed success too early, married the wrong man, and hung out with the wrong people; too many men have liked me, and I’ve liked too many men.
Frank and refreshing, Brigitte Reimann’s collected diaries provide a candid account of life in socialist Germany. With an upbeat tempo and amusing tone, I Have No Regrets contains detailed accounts of the author’s love affairs, daily life, writing, and reflections. Like the heroines in her stories, Reimann was impetuous and outspoken, addressing issues and sensibilities otherwise repressed in the era of the German Democratic Republic. She followed the state’s call for artists to leave their ivory towers and engage with the people, moving to the new town of Hoyerswerda to work part-time at a nearby industrial plant and run writing classes for the workers. Her diaries and letters provide a fascinating parallel to her fictional writing. By turns shocking, passionate, unflinching, and bitter—but above all life-affirming—they offer an unparalleled insight into what life was like during the first decades of the GDR.
This work by Diane Williams delves into the strange relationships of men and women. From marital betrayal to spousal abuse and unrelenting desire, Williams illuminates the lives of her characters in prose as sparse and stark as it is beautiful. These stories are as short as prose poems and as complex as novels. In them, meanings remain ambiguous and consequences seem uncertain. In the novella “On Sexual Strength” she describes the intense and sometimes strange relationship between two neighboring couples and the rage that comes with adultery, and a narrator whose social inadequacies and lack of inhibitions lead to destruction.
The world Williams creates is a sensual place where quiet epiphanies—such as the one that occurs after an extramarital affair— are also possible: “It was like
My Trying to Have a Tender-Hearted nature. This is how love can be featured.” Such flashes of insight and emotion glue together the fragments of life Williams lays before the reader, and the reader rejoices at the revelations.
Father Paul M. Washington rose to local and nation prominence as an unflagging supporter of civil and women's rights. One of a handful of black priests in a traditionally white church, he fought for understanding among all people, eventually serving twenty-five years as the Rector of the Episcopal Church of the Advocate in an inner-city Philadelphia neighborhood. Though his ideas about equality often went against the views of the Episcopal church leadership, he rejected threats of withdrawn funding or retaliation to follow his heart and his theology.
Father Washington's story is a window of insight into the struggles for justice and dignity in the latter half of the twentieth century. In the tumultuous 1960s he supported the Black Power movement, the Black Panther Party, and many other groups working for peace and justice, providing meeting places and guidance. He often found himself in the midst of racial disturbances—the riots on Susquehanna Avenue in 1963 and on Columbia Avenue in 1964, in front of the Board of Education where high school students protested the Eurocentric curriculum, and outside the walls of Girard College where citizens and civic leaders demonstrated against the school's exclusion of black children. In the 1980s, he helped Philadelphia city officials negotiate with MOVE members and was a vocal supporter of Ramona Africa, fighting for her release from prison. It was in his church on the corner of 18th and Diamond Streets that women were first ordained a priests in the Episcopal church. And it was one of his congregation, Barbara Harris, who became the first female Episcopal bishop.
In his evocative voice, Father Washington describes the pivotal events of his life and how each impacted upon his evolving ideas of the relationship between religion and justice. Spanning seven decades, his account is at once an insightful and unique historical account of political action, of the reformation of the church, of the changing urban landscape, and of a life graced by leadership and spiritual enlightenment.
To Have and Have Not
Edited by Bruce F. Kawin; Tino T. Balio, Series Editor University of Wisconsin Press, 1980 Library of Congress PN1997.T59 | Dewey Decimal 791.437
The story of the making of To Have and Have Not (1944) is an exciting and complex one, ranging from the widely reported romance between its stars, Humphrey Bogart and the unknown nineteen-year old Lauren Bacall, to one of the more subtle developments in the wartime alliance between the United States and the Batista regime in Cuba. Bruce F. Kawin's substantial and informed introduction reflects this excitement while explaining the complexities, helping all film scholars, students, and buffs to gain a fuller appreciation of one of Hollywood's most memoriable melodramas.
This is a story also of a collaboration amoung four important writers: Ernest Hemingway, Howard Hawks, Jules Furthman, and William Faulkner.
This vitally important volume places the problem of wife beating in a broad cultural context in a search for strategies to reform societies, including our own, that are prone to this pernicious form of violence. Based on first hand ethnographic data on more than a dozen societies, including a number in Oceania, this collection explores the social and cultural factors that work either to inhibit or to promote domestic violence against women. The volume also includes a study of abuse among nonhuman primates and a cross-cultural analysis of the legal aspects of wife beating. By presenting counterexamples from other cultures, contributors challenge Western assumptions about the factors leading to wife beating. Through a close examination of societies where wife beating is infrequent or absent, To Have and To Hit identifies the factors—economic, social, political, and cultural—that must be explored and transformed in order to combat this violence and eventually eliminate it.
Middle-class family life in the 1950s brings to mind images of either smugly satisfied or miserably repressed nuclear families with breadwinning husbands, children, and housewives, much like the families depicted in Ozzie and Harriet and Father Knows Best.
Jessica Weiss delves beneath these mythic images and paints a far more complex picture that reveals strong continuities between the baby boomers and their parents. Drawing on interviews with American couples from the 1950s to the 1980s, Weiss creates a dynamic portrait of family and social change in the postwar era. She pairs these firsthand accounts with a deft analysis of movies, television shows, magazines, and advice books from each decade, providing an unprecedented and intimate look at ordinary marriages in a time of sweeping cultural change.
Weiss shows how young couples in the 1950s attempted to combine egalitarian hopes with traditional gender roles. Middle-class women encouraged their husbands to become involved fathers. Midlife wives and mothers reshaped the labor force and the home by returning to work in the 1960s. And couples strove for fulfilling marriages as they dealt with the pressures of childrearing in the midst of the sexual and divorce revolutions of the 1960s and 1970s. By the 1980s, they were far more welcoming to the ideas of the women's movement than has often been assumed. More than simply changing with the times, the parents of the baby boom contributed to changing times themselves.
Weiss's excellent use of family interviews that span three decades, her imaginative examination of popular culture, and her incisive conclusions make her book an invaluable contribution not only to our understanding of the past but also to our understanding of men's and women's roles in today's family.
"Weiss has written an enlightening book that examines the dynamics of American families past and present. . . . Since Weiss is a historian, she provides analyses of her arguments that are factual rather than emotive, and her use of family interviews further contributes to a strong presentation. Overall, this is a unique works because its multidisciplinary approach informs but never preaches on the emotionally charged topic of the American family.—Sheila Devaney, Library Journal