Medievalists have long been interested in the "abandoned woman," a figure historically used to examine the value of traditional male heroism. Moving beyond previous studies which have focused primarily on Virgil's Dido, Suzanne Hagedorn focuses on the vernacular works of Dante, Bocaccio, and Chaucer, arguing that revisiting the classical tradition of the abandoned woman enables one to reconsider ancient epics and myths from a female perspective and question assumptions about gender roles in medieval literature.
From Lake Chad to Iraq, nongovernmental organizations (NGOs) provide relief around the globe, and their scope is growing every year. Policymakers and activists often assume that humanitarian aid is best provided by these organizations, which are generally seen as impartial and neutral. In Above the Fray, Shai M. Dromi investigates why the international community overwhelmingly trusts humanitarian NGOs by looking at the historical development of their culture. With a particular focus on the Red Cross, Dromi reveals that NGOs arose because of the efforts of orthodox Calvinists, demonstrating for the first time the origins of the unusual moral culture that has supported NGOs for the past 150 years.
Drawing on archival research, Dromi traces the genesis of the Red Cross to a Calvinist movement working in mid-nineteenth-century Geneva. He shows how global humanitarian policies emerged from the Red Cross founding members’ faith that an international volunteer program not beholden to the state was the only ethical way to provide relief to victims of armed conflict. By illustrating how Calvinism shaped the humanitarian field, Dromi argues for the key role belief systems play in establishing social fields and institutions. Ultimately, Dromi shows the immeasurable social good that NGOs have achieved, but also points to their limitations and suggests that alternative models of humanitarian relief need to be considered.
Today the images of Robert Burns and Abraham Lincoln are recognized worldwide, yet few are aware of the connection between the two. In Abraham Lincoln and Robert Burns: Connected Lives and Legends, author Ferenc Morton Szasz reveals how famed Scots poet Robert Burns—and Scotland in general—influenced the life and thought of one of the most beloved and important U.S. presidents and how the legends of the two men became intertwined after their deaths. This is the first extensive work to link the influence, philosophy, and artistry of these two larger-than-life figures.
Lacking a major national poet of their own in the early nineteenth century, Americans in the fledgling frontier country ardently adopted the poignant verses and songs of Scotland’s Robert Burns. Lincoln, too, was fascinated by Scotland’s favorite son and enthusiastically quoted the Scottish bard from his teenage years to the end of his life. Szasz explores the ways in which Burns’s portrayal of the foibles of human nature, his scorn for religious hypocrisy, his plea for nonjudgmental tolerance, and his commitment to social equality helped shape Lincoln’s own philosophy of life. The volume also traces how Burns’s lyrics helped Lincoln develop his own powerful sense of oratorical rhythm, from his casual anecdotal stories to his major state addresses.
Abraham Lincoln and Robert Burns connects the poor-farm-boy upbringings, the quasi-deistic religious views, the shared senses of destiny, the extraordinary gifts for words, and the quests for social equality of two respected and beloved world figures. This book is enhanced by twelve illustrations and two appendixes, which include Burns poems Lincoln particularly admired and Lincoln writings especially admired in Scotland.
Abraham Lincoln has long dominated the pantheon of American presidents. From his lavish memorial in Washington and immortalization on Mount Rushmore, one might assume he was a national hero rather than a controversial president who came close to losing his 1864 bid for reelection. In Abraham Lincoln and the Forge of National Memory, Barry Schwartz aims at these contradictions in his study of Lincoln's reputation, from the president's death through the industrial revolution to his apotheosis during the Progressive Era and First World War.
Schwartz draws on a wide array of materials—painting and sculpture, popular magazines and school textbooks, newspapers and oratory—to examine the role that Lincoln's memory has played in American life. He explains, for example, how dramatic funeral rites elevated Lincoln's reputation even while funeral eulogists questioned his presidential actions, and how his reputation diminished and grew over the next four decades. Schwartz links transformations of Lincoln's image to changes in the society. Commemorating Lincoln helped Americans to think about their country's development from a rural republic to an industrial democracy and to articulate the way economic and political reform, military power, ethnic and race relations, and nationalism enhanced their conception of themselves as one people.
Lincoln's memory assumed a double aspect of "mirror" and "lamp," acting at once as a reflection of the nation's concerns and an illumination of its ideals, and Schwartz offers a fascinating view of these two functions as they were realized in the commemorative symbols of an ever-widening circle of ethnic, religious, political, and regional communities. The first part of a study that will continue through the present, Abraham Lincoln and the Forge of National Memory is the story of how America has shaped its past selectively and imaginatively around images rooted in a real person whose character and achievements helped shape his country's future.
By the 1920s, Abraham Lincoln had transcended the lingering controversies of the Civil War to become a secular saint, honored in North and South alike for his steadfast leadership in crisis. Throughout the Great Depression and World War II, Lincoln was invoked countless times as a reminder of America’s strength and wisdom, a commanding ideal against which weary citizens could see their own hardships in perspective.
But as Barry Schwartz reveals in Abraham Lincoln in the Post-Heroic Era, those years represent the apogee of Lincoln’s prestige. The decades following World War II brought radical changes to American culture, changes that led to the diminishing of all heroes—Lincoln not least among them. As Schwartz explains, growing sympathy for the plight of racial minorities, disenchantment with the American state, the lessening of patriotism in the wake of the Vietnam War, and an intensifying celebration of diversity, all contributed to a culture in which neither Lincoln nor any single person could be a heroic symbol for all Americans. Paradoxically, however, the very culture that made Lincoln an object of indifference, questioning, criticism, and even ridicule was a culture of unprecedented beneficence and inclusion, where racial, ethnic, and religious groups treated one another more fairly and justly than ever before. Thus, as the prestige of the Great Emancipator shrank, his legacy of equality continued to flourish.
Drawing on a stunning range of sources—including films, cartoons, advertisements, surveys, shrine visitations, public commemorations, and more—Schwartz documents the decline of Lincoln’s public standing, asking throughout whether there is any path back from this post-heroic era. Can a new generation of Americans embrace again their epic past, including great leaders whom they know to be flawed? As the 2009 Lincoln Bicentennial approaches, readers will discover here a stirring reminder that Lincoln, as a man, still has much to say to us—about our past, our present, and our possible futures.
What constitutes Lincoln’s political greatness as a statesman? As a great leader, he saved the Union, presided over the end of slavery, and helped to pave the way for an interracial democracy. His great speeches provide enduring wisdom about human equality, democracy, free labor, and free society. Joseph R. Fornieri contends that Lincoln’s political genius is best understood in terms of a philosophical statesmanship that united greatness of thought and action, one that combined theory and practice. This philosophical statesmanship, Fornieri argues, can best be understood in terms of six dimensions of political leadership: wisdom, prudence, duty, magnanimity, rhetoric, and patriotism. Drawing on insights from history, politics, and philosophy, Fornieri tackles the question of how Lincoln’s statesmanship displayed each of these crucial elements.
Providing an accessible framework for understanding Lincoln’s statesmanship, this thoughtful study examines the sixteenth president’s political leadership in terms of the traditional moral vision of statecraft as understood by epic political philosophers such as Aristotle and St. Thomas Aquinas. Fornieri contends that Lincoln’s character is best understood in terms of Aquinas’s understanding of magnanimity or greatness of soul, the crowning virtue of statesmanship. True political greatness, as embodied by Lincoln, involves both humility and sacrificial service for the common good. The enduring wisdom and timeless teachings of these great thinkers, Fornieri shows, can lead to a deeper appreciation of statesmanship and of its embodiment in Abraham Lincoln.
With the great philosophers and books of western civilization as his guide, Fornieri demonstrates the important contribution of normative political philosophy to an understanding of our sixteenth president. Informed by political theory that draws on the classics in revealing the timelessness of Lincoln’s example, his interdisciplinary study offers profound insights for anyone interested in the nature of leadership, statesmanship, political philosophy, political ethics, political history, and constitutional law.
Over fifty years have passed since Abstract Expressionism burst onto the New York City art scene, quickly attaining singular prominence as the first school in American painting to declare its independence from European styles. New assessments of its impact and importance continue to emerge. Yet, while much has been written about the movement’s broad range of stylistic diversity, its sociological and psychological dimensions, and its cultural significance in the United States, little attention has been paid to the interaction of its artists on the international scene. Abstract Expressionism: The International Context fills this gap by providing an in-depth exploration of this truly global art movement.
Bringing together fifteen original and path-breaking essays by world-class authorities on Abstract Expressionism as well as by younger scholars, this anthology looks beyond the canonical painters to explore the broader connections among abstract artists of the post–World War II era. Moving from the margins to the center, the essays recognize the contributions of artists working far beyond New York City. Topics include Jackson Pollock’s contact with Mexican muralists and the legacy of Abstract Expressionism for leftist artists in Latin America, the relevance of Jean-Paul Sartre and Samuel Beckett as sources of philosophical thought, the significance of northern European CoBrA painters such as Asger Jorn, the impact of Japanese Gutai artists, and connections with the revolutionary art of Italy, Belgium, and France. Abstract Expressionism is also described as a model for contemporaneous developments in the former Soviet Union.
As the first book to consider the movement in relation to post–World War II abstraction on four continents, this book brings a fresh perspective to this widely studied school of painting. Scholars and students alike will find this anthology essential reading in creating a more complete and nuanced understanding of Abstract Expressionism.
Acheson and Empire offers a compelling reassessment of Dean Acheson's policies toward the former colonial world during his period as secretary of state from 1949 to 1953. John T. McNay argues that Acheson inherited through his own personal history a way of understanding the world that encouraged imperial-style international relationships. This worldview represented a well-developed belief system rooted in his Ulster Protestant heritage that remained consistent throughout his life.
By exploring relationships of the United States with Britain and countries formerly or then controlled by Britain, such as India, Ireland, Iran, and Egypt, McNay shows the significance of Acheson's beliefs. McNay argues that Acheson's support of existing imperial relationships was so steadfast that it often led other nations to perceive that the United States was nothing more than a front for British interests. He believes this approach to foreign policy damaged American relations with emerging countries and misled the British regarding possibilities of an Anglo-American partnership.
Acheson and Empire contends that the widely accepted view of Acheson as a foreign policy realist is misleading and that historians should acknowledge that his affinity for the British Empire went beyond his clothing and mannerisms. McNay maintains that the widely accepted view of Acheson as one of a group of "wise men" who shaped the Cold War world by basing their decisions on cold calculation of American interests should be reconsidered.
Drawing from extensive research in archival sources, including the Truman Library, the National Archives, the Public Record Office in London, and Acheson's personal papers at Yale, Acheson and Empire offers a fresh look at Dean Acheson that runs counter to previous biographies and many histories of the Cold War.
On 2 September 31 B.C.E., the heir of Julius Caesar defeated the forces of Antony and Cleopatra in a naval engagement at Actium. Despite the varied judgments this battle received in antiquity, common opinion held that Actium marked the start of a new era, a turning point in Roman history and, indeed, in Western civilization.
Actium and Augustus marks a turning point as well. Robert Alan Gurval's unusual approach is to examine contemporary views of the battle and its immediate political and social consequences. He starts with a consideration of the official celebration and public commemoration of the Actian victory and then moves on to other questions. What were the "Actian" monuments that Octavian erected on the battle site and later in Rome? What role did the Actian victory play in the political formation of the Principate and its public ideology? What was the response of contemporary poetry? Throughout, this volume concentrates on contemporary views of Actium and its results.
Written to include the general reader, Actium and Augustus presents a thoughtful examination of a complex period. All Greek and Latin quotations are translated, and extensive illustrations present graphic evidence about the issues Romans faced.
Robert Alan Gurval is Associate Professor of Classics, University of California, Los Angeles, and has been a recipient of the Rome Prize awarded by the American Academy in Rome.
A collection of essays highlighting the pervasive, yet often unacknowledged, role of Romantic poetry and poetics on modern and contemporary innovative poetry
Literary history generally locates the primary movement toward poetic innovation in twentieth-century modernism, an impulse carried out against a supposedly enervated “late-Romantic” poetry of the nineteenth century. The original essays in Active Romanticism challenge this interpretation by tracing the fundamental continuities between Romanticism’s poetic and political radicalism and the experimental movements in poetry from the late nineteenth century to the present day.
According to editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic response, direct or indirect, to pressing social issues and an attempt to redress forms of ideological repression; at its core, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the evidence of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake at the beginning of the nineteenth century. No other statement from the era of the French Revolution marks with such terseness the challenge for poetry to participate in the liberation of human society from forms of inequality and invisibility. No other statement insists so vividly that a poetic event pushing for social progress demands the unfettering of traditional, customary poetic form and language.
Bringing together work by well-known writers and critics, ranging from scholarly studies to poets’ testimonials, Active Romanticism shows Romantic poetry not to be the sclerotic corpse against which the avant-garde reacted but rather the wellspring from which it flowed.
Offering a fundamental rethinking of the history of modern poetry, Carr and Robinson have grouped together in this collection a variety of essays that confirm the existence of Romanticism as an ongoing mode of poetic production that is innovative and dynamic, a continuation of the nineteenth-century Romantic tradition, and a form that reacts and renews itself at any given moment of perceived social crisis.
Dan Beachy-Quick / Julie Carr / Jacques Darras / Rachel Blau DuPlessis / Judith Goldman / Simon Jarvis / Andrew Joron / Nigel Leask / Jennifer Moxley / Bob Perelman / Jeffrey C. Robinson / Jerome Rothenberg / Elizabeth Willis / and Heriberto Yépez
After Brecht: British Epic Theater is the first book to fully explore contemporary British drama in the light of the influence of German playwright Bertolt Brecht. Focusing on the work of Howard Brenton, Edward Bond, Caryl Churchill, David Hare, Trevor Griffiths, and John McGrath, the book examines Brechtian techniques and style within the work of each playwright, while highlighting the divergent development of each.
The book has been enriched by the author's in-depth conversations with the playwrights. The topics covered include contemporary politics and the theater, the National Theatre, the Royal Shakespeare Company, and such well-known fringe companies as Foco Novo, Joint Stock, Portable Theatre, and 7:84. Reinelt examines each playwright within an interpretive frame drawn from an application of Brecht's theories and practice to the historically specific situation of post-war British theater.
The book will appeal to those interested in the relationship between politics and art and contemporary European theater and its antecedents.
"After Brecht represents the best and most detailed engagement with the contemporary British theater scene to date." --Stanton B. Garner, Jr.
"This fine study . . . confronts issues that are important to all students and practitioners of the theater. Sensitive to the uniqueness of each of the playwrights in her study, Reinelt demonstrates that Brechtian theory can be modified in many ways by those who share the belief that 'politics and aesthetics are inseparably linked.'" --Choice
Janelle Reinelt is Chair of the Department of Dramatic Art and Dance, University of California-Davis.
From August 29 to September 21, 1909, Sigmund Freud visited the United States, where he gave five lectures at Clark University in Worcester, Massachusetts. This volume brings together a stunning gallery of leading historians of psychoanalysis and of American culture to consider the broad history of psychoanalysis in America and to reflect on what has happened to Freud’s legacy in the United States in the century since his visit.
There has been a flood of recent scholarship on Freud’s life and on the European and world history of psychoanalysis, but historians have produced relatively little on the proliferation of psychoanalytic thinking in the United States, where Freud’s work had monumental intellectual and social impact. The essays in After Freud Left provide readers with insights and perspectives to help them understand the uniqueness of Americans’ psychoanalytic thinking, as well as the forms in which the legacy of Freud remains active in the United States in the twenty-first century. After Freud Left will be essential reading for anyone interested in twentieth-century American history, general intellectual and cultural history, and psychology and psychiatry.
In this book, Gary P. Steenson offers new interpretations of the history and nature of socialist movements in Germany, France, Austria, and Italy, from after Karl Marx's death until World War I. Based largely on Friedrich Engels's correspondence and those of other socialist party leaders, Steenson analyzes Engels's view of European politics and those of his strategic counsel. He also derives the standards of Marxian orthodoxy from party publications and the political press. The central importance of Engels is clear, as is the seductive appeal of his frequently insightful, often misguided counsel to working politicians. Steenson also finds that this period saw no contradiction in adherence to Marxism and full participation in democratic, representative politics-and that in those countries where democratic forms did not exist, Marxists led the struggle to obtain them.
After Representation? explores one of the major issues in Holocaust studiesùthe intersection of memory and ethics in artistic expression, particularly within literature.
As experts in the study of literature and culture, the scholars in this collection examine the shifting cultural contexts for Holocaust representation and reveal how writersùwhether they write as witnesses to the Holocaust or at an imaginative distance from the Nazi genocideùarticulate the shadowy borderline between fact and fiction, between event and expression, and between the condition of life endured in atrocity and the hope of a meaningful existence. What imaginative literature brings to the study of the Holocaust is an ability to test the limits of language and its conventions. After Representation? moves beyond the suspicion of representation and explores the changing meaning of the Holocaust for different generations, audiences, and contexts.
This exceptional collection revisits the aftermath of the 1954 coup that ousted the democratically elected Guatemalan president Jacobo Arbenz. Contributors frame the impact of 1954 not only in terms of the liberal reforms and coffee revolutions of the nineteenth century, but also in terms of post-1954 U.S. foreign policy and the genocide of the 1970s and 1980s. This volume is of particular interest in the current era of the United States' re-emerging foreign policy based on preemptive strikes and a presumed clash of civilizations.
Recent research and the release of newly declassified U.S. government documents underscore the importance of reading Guatemala's current history through the lens of 1954. Scholars and researchers who have worked in Guatemala from the 1940s to the present articulate how the coup fits into ethnographic representations of Guatemala. Highlighting the voices of individuals with whom they have lived and worked, the contributors also offer an unmatched understanding of how the events preceding and following the coup played out on the ground.
Contributors are Abigail E. Adams, Richard N. Adams, David Carey Jr., Christa Little-Siebold, Judith M. Maxwell, Victor D. Montejo, June C. Nash, and Timothy J. Smith.
The fall of the Berlin Wall. The collapse of the Iron Curtain. The Orange Revolution. The Arab Spring.
The rush of events in recent decades seems to confirm that Alexis de Tocqueville was right: the future belongs to democracy. But take a closer look. The history of democracy since the 1830s, when Tocqueville wrote Democracy in America, reveals a far more complicated picture. And the future, author Chilton Williamson Jr. demonstrates, appears rather unpromising for democratic institutions around the world.
The fall of communism sparked the popular notion that the spread of democracy was inevitable. After Tocqueville challenges this sunny notion. Various aspects of twenty-first-century life that Tocqueville could scarcely have imagined—political, economic, social, religious, intellectual, technological, environmental—militate against democracy, both in developing societies and in the supposedly democratic West.
This piercing, elegantly written book raises crucial questions about the future of democracy, including:
•Just what is democracy? As Williamson shows, definitions and concepts have become so varied that the term is effectively meaningless.
•How does a system whose institutions and habits arose in small-scale societies adapt to a postmodern, globalized world?
•After two centuries of democratization, are Western countries really more free?
•How can democracy endure when people care more about procuring what they want than about securing liberty?
•How does a political system survive when it is beset by problems that cannot be solved by political means?
Two decades ago, Francis Fukuyama famously pronounced the “end of history.” History, it turns out, is still very much with us. Democracy (whatever it is) may not be in the decades and centuries to come.
All Alabama elections are colorful, but the 1986 gubernatorial contest may trump them all for its sheer strangeness
With the retirement of an aging and ill George Wallace, both the issues and candidates contending for the office were able to set the course of Alabama politics for generations to follow. Whereas the Wallace regimes were particular to Alabama, and the gubernatorial campaign was conducted in a partial vacuum with his absence, Alabama also experienced a wave of partisan realignment. A once solidly Democratic South was undergoing a tectonic political shift as white voters in large numbers abandoned their traditional Democratic political home for the revived Republicans, a party shaped in many respects by the Wallace presidential bids of 1968 and 1972 and the Reagan revolution of the 1980s.
Alabama's own Democratic Party contributed to this massive shift with self-destructive campaign behavior that disgusted many of its traditional voters who wound up staying home or voting for a little-known Republican. From the gubernatorial election of 1986 came the shaky balance between the two parties that exists today.
After Wallace recollects and analyzes how these shifts occurred, citing extensive newspaper coverage from the time as well as personal observations and poll data collected by the authors. This volume is certain to be a valuable work for any political scientist, especially those with an interest in Alabama or southern politics.
Physicist John Tyndall and his contemporaries were at the forefront of developing the cosmology of scientific naturalism during the Victorian period. They rejected all but physical laws as having any impact on the operations of human life and the universe. Contributors focus on the way Tyndall and his correspondents developed their ideas through letters, periodicals and scientific journals and challenge previously held assumptions about who gained authority, and how they attained and defended their position within the scientific community.
The image of the shadow in mid-twentieth-century America appeared across a variety of genres and media including poetry, pulp fiction, photography, and film. Drawing on an extensive framework that ranges from Cold War cultural histories to theorizations of psychoanalysis and the Gothic, Erik Mortenson argues that shadow imagery in 1950s and 1960s American culture not only reflected the anxiety and ambiguity of the times but also offered an imaginative space for artists to challenge the binary rhetoric associated with the Cold War.
After contextualizing the postwar use of shadow imagery in the wake of the atomic bomb, Ambiguous Borderlands looks at shadows in print works, detailing the reemergence of the pulp fiction crime fighter the Shadow in the late-1950s writings of Sylvia Plath, Amiri Baraka, and Jack Kerouac. Using Freudian and Jungian conceptions of the unconscious, Mortenson then discusses Kerouac’s and Allen Ginsberg’s shared dream of a “shrouded stranger” and how it shaped their Beat aesthetic. Turning to the visual, Mortenson examines the dehumanizing effect of shadow imagery in the Cold War photography of Robert Frank, William Klein, and Ralph Eugene Meatyard. Mortenson concludes with an investigation of the use of chiaroscuro in 1950s film noir and the popular television series The Twilight Zone, further detailing how the complexities of Cold War society were mirrored across these media in the ubiquitous imagery of light and dark.
From comics to movies, Beats to bombs, Ambiguous Borderlands provides a novel understanding of the Cold War cultural context through its analysis of the image of the shadow in midcentury media. Its interdisciplinary approach, ambitious subject matter, and diverse theoretical framing make it essential reading for anyone interested in American literary and popular culture during the fifties and sixties.
“John Shields's book is a provocative challenge to the venerable Adamic myth so exhaustively deployed in examinations of early American literature and in American studies. Moreover, The American Aeneas builds wonderfully on Shields's considerable work on Phillis Wheatley. “?—American Literature??
“The American Aeneas should be of interest to classicists and American studies scholars alike.” ?—The New England Quarterly??
John Shields exposes a significant cultural blindness within American consciousness. Noting the biblical character Adam as an archetype who has long dominated ideas of what it means to be American, Shields argues that an equally important component of our nation’s cultural identity—a secular one deriving from the classical tradition—has been seriously neglected.??Shields shows how Adam and Aeneas—Vergil’s hero of the Aeneid— in crossing over to American from Europe, dynamically intermingled in the thought of the earliest American writers. Shields argues that uncovering and acknowledging the classical roots of our culture can allay the American fear of “pastlessness” that the long-standing emphasis on the Adamic myth has generated.
John C. Shields is the editor of The Collected Works of Phillis Wheatley and the author of The American Aeneas: Classical Origins of the American Self, which won a Choice Outstanding Academic Book award and an honorable mention in the Harry Levin Prize competition, sponsored by the American Comparative Literature Association.
In the midst of the Great Depression, Americans were nearly universally literate—and they were hungry for the written word. Magazines, novels, and newspapers littered the floors of parlors and tenements alike. With an eye to this market and as a response to devastating unemployment, Roosevelt’s Works Progress Administration created the Federal Writers’ Project. The Project’s mission was simple: jobs. But, as Wendy Griswold shows in the lively and persuasive American Guides, the Project had a profound—and unintended—cultural impact that went far beyond the writers’ paychecks.
Griswold’s subject here is the Project’s American Guides, an impressively produced series that set out not only to direct travelers on which routes to take and what to see throughout the country, but also to celebrate the distinctive characteristics of each individual state. Griswold finds that the series unintentionally diversified American literary culture’s cast of characters—promoting women, minority, and rural writers—while it also institutionalized the innovative idea that American culture comes in state-shaped boxes. Griswold’s story alters our customary ideas about cultural change as a gradual process, revealing how diversity is often the result of politically strategic decisions and bureaucratic logic, as well as of the conflicts between snobbish metropolitan intellectuals and stubborn locals. American Guides reveals the significance of cultural federalism and the indelible impact that the Federal Writers’ Project continues to have on the American literary landscape.
If you were looking for a philosopher likely to appeal to Americans, Friedrich Nietzsche would be far from your first choice. After all, in his blazing career, Nietzsche took aim at nearly all the foundations of modern American life: Christian morality, the Enlightenment faith in reason, and the idea of human equality. Despite that, for more than a century Nietzsche has been a hugely popular—and surprisingly influential—figure in American thought and culture.
In American Nietzsche, Jennifer Ratner-Rosenhagen delves deeply into Nietzsche's philosophy, and America’s reception of it, to tell the story of his curious appeal. Beginning her account with Ralph Waldo Emerson, whom the seventeen-year-old Nietzsche read fervently, she shows how Nietzsche’s ideas first burst on American shores at the turn of the twentieth century, and how they continued alternately to invigorate and to shock Americans for the century to come. She also delineates the broader intellectual and cultural contexts within which a wide array of commentators—academic and armchair philosophers, theologians and atheists, romantic poets and hard-nosed empiricists, and political ideologues and apostates from the Left and the Right—drew insight and inspiration from Nietzsche’s claims for the death of God, his challenge to universal truth, and his insistence on the interpretive nature of all human thought and beliefs. At the same time, she explores how his image as an iconoclastic immoralist was put to work in American popular culture, making Nietzsche an unlikely posthumous celebrity capable of inspiring both teenagers and scholars alike.
A penetrating examination of a powerful but little-explored undercurrent of twentieth-century American thought and culture, American Nietzsche dramatically recasts our understanding of American intellectual life—and puts Nietzsche squarely at its heart.
David W. Blight Harvard University Press, 2011 Library of Congress E468.5.B55 2011 | Dewey Decimal 973.70072
David Blight takes his readers back to the Civil War’s centennial celebration to determine how Americans made sense of the suffering, loss, and liberation a century earlier. He shows how four of America’s most incisive writers—Robert Penn Warren, Bruce Catton, Edmund Wilson, and James Baldwin—explored the gulf between remembrance and reality.
Like the ancient Roman Pantheon, the U.S. Capitol was designed by its political and aesthetic arbiters to memorialize the virtues, events, and persons most representative of the nation's ideals—an attempt to raise a particular version of the nation's founding to the level of myth.
American Pantheon examines the influences upon not only those virtues and persons selected for inclusion in the American pantheon, but also those excluded. Two chapters address the exclusion of slavery and African Americans from the art in the Capitol, a silence made all the more deafening by the major contributions of slaves and free black workers to the construction of the building. Two other authors consider the subject of women emerging as artists, subjects, patrons, and proponents of art in the Capitol, a development that began to emerge only in the second half of the nineteenth century.
The Rotunda, the Capitol's principal ceremonial space, was designed in part as an art museum of American history—at least the authorized version of it. It is explored in several of the essays, including discussions of the influence of the early-nineteenth-century Italian sculptors who provided the first sculptural reliefs for the room and the contributions of the mid-nineteenth-century Italian American artist Constantino Brumidi, to the mix of allegory, mythology, and history that permeates the space and indeed the Capitol itself.
Although he is revered as one of our greatest presidents, Abraham Lincoln seems to lack the legacy of others like Jefferson or Jackson who brought about new conceptions of American political life. In this study of Lincoln’s political thought, Eric Sands blends political science, history, and political theory to offer a fresh perspective on Lincoln, his thought, and the politics of Reconstruction.
In this new consideration of Lincoln’s “public philosophy”—the nation’s understanding of itself—Sands seeks to determine why the spirit that successfully led the Union through the Civil War was unable to sustain itself during Reconstruction. He defines Lincolnism as a rededication to the principle of natural rights, a narrative of Divine Providence, a sentiment of brotherhood, and an augmentation of founding principles. He then explains how Lincoln’s assassination, Johnson’s succession, and developments in philosophy and science worked to undermine this philosophy after the war.
Sands investigates why the Republican Party was unable to sustain Lincoln’s ideas and why neither Republicans nor Democrats were able to formulate a compelling substitute public philosophy for Lincolnism. He describes how Radical Republicans and Purist Democrats battled for control over America’s public philosophy, then how Moderate Republicans and Legitimist Democrats abandoned battles over first principles completely. By the end of Reconstruction, public philosophy politics were rejected altogether, ultimately frustrating efforts to move the nation toward the realization of full equality under the law.
By reflecting on public policy formation and change, Sands evaluates the strengths and weaknesses of public philosophy politics and shows that the most inspiring and noble kind of politics, even if oriented toward moral principles, can also be dangerous and divisive. His work lends new insight into the role of ideas in politics and offers readers a new understanding of the consequences of Lincoln’s actions and the death of Reconstruction policies—and of why no concept of a “Lincolnian democracy” survived during the Reconstruction era.
One of the country's most enduringly successful composers, Aaron Copland created a distinctively American style and aesthetic in works for a diversity of genres and mediums, including ballet, opera, and film. Also active as a critic, mentor, advocate, and concert organizer, he played a decisive role in the growth of serious music in the Americas in the twentieth century.
In The American Stravinsky, Gayle Murchison closely analyzes selected works to discern the specific compositional techniques Copland used, and to understand the degree to which they derived from European models, particularly the influence of Igor Stravinsky. Murchison examines how Copland both Americanized these models and made them his own, thereby finding his own compositional voice. Murchison also discusses Copland's aesthetics of music and his ideas about its purpose and social function.
American Unexceptionalism examines a constellation of post-9/11 novels that revolve around white middle-class male suburbanites, thus following a tradition established by writers such as John Updike and John Cheever. Focusing closely on recent works by Richard Ford, Chang-Rae Lee, Jonathan Franzen, Philip Roth, Anne Tyler, Gish Jen, A. M. Homes, and others, Kathy Knapp demonstrates that these authors revisit this well-trod turf and revive the familiar everyman character in order to reconsider and reshape American middle-class experience in the wake of the 9/11 attacks and their ongoing aftermath.
The novels in question all take place in the sprawling terrain that stretches out beyond the Twin Towers—the postwar suburbs that since the end of World War II have served, like the Twin Towers themselves, as a powerful advertisement of dominance to people around the globe, by projecting an image of prosperity and family values. These suburban tales and their everyman protagonists grapple, however indirectly, with the implications of the apparent decline of the economic, geopolitical, and moral authority of the United States. In the context of perceived decay and diminishing influence, these novels actively counteract the narrative of American exceptionalism frequently peddled in the wake of 9/11.
If suburban fiction has historically been faulted for its limited vision, this newest iteration has developed a depth of field that self-consciously folds the personal into the political, encompasses the have-nots along with the haves, and takes in the past when it imagines the future, all in order to forge a community of readers who are now accountable to the larger world. American Unexceptionalism traces the trajectory by which recent suburban fiction overturns the values of individualism, private property ownership, and competition that originally provided its foundation. In doing so, the novels examined here offer readers new and flexible ways to imagine being and belonging in a setting no longer characterized by stasis, but by flux.
After more than four decades, the Viet Nam War continues to haunt our national memory, culture, politics, and military actions. In this probing interdisciplinary study, Susan Lyn Eastman examines a range of cultural productions—from memorials and poetry to cinematic and fictional narratives—that have tried to grapple with the psychic afterlife of traumatic violence resulting from the ill-fated conflict in Southeast Asia.
Underpinning the book is the notion of “prosthetic memory,” which involves memories acquired by those with no direct experience of the war, such as readers and filmgoers. Prosthetic memories, Eastman argues, refuse to relegate the war to the forgotten past and challenge the authenticity of experience, thus ensuring its continued relevance to debates over America’s self-conception, specifically her coinage of the “New Vietnam Syndrome,” and the country’s role in world affairs when it comes to contemporary military interventions.
With the notable exception of the Veterans’ Memorial in Washington, Eastman’s focus is on works produced from the Persian Gulf War (1990–91) through the post-9/11 “War on Terror.” She looks not only at American representations of the war—from movies like Randall Wallace’s We Were Soldiers to poems by W. D. Ehrhart, Yusef Komunyakaa, and others—but also at novels by Vietnamese authors Bao Ninh and Huong Thu Duong. The experiences of women figure prominently in the book: Eastman devotes a chapter to the Vietnam Women’s Memorial and another to Sandie Frazier’s novel I Married Vietnam and Oliver Stone’s film Heaven and Earth, based on memoirs by Le Ly Hayslip. And by examining Jessica Hagedorn’s Dream Jungle, a novel inspired by the filming of Apocalypse Now, she considers how the war’s repercussions were felt in other countries, in this case the Philippines. Her investigation of Vietnamese American authors Lan Cao, Andrew Lam, and GB Tran adds a transnational dimension to the study.
With its up-to-date perspective on recent works that have heretofore received scant critical notice, this book offers new ways of thinking about one of the most polemic chapters in U.S. history.
SUSAN LYN EASTMAN teaches in the Department of English at the University of Tennessee at Chattanooga.
Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.
The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.
Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.
For more than half a century before World War II, black South Africans and “American Negroes”—a group that included African Americans and black West Indians—established close institutional and personal relationships that laid the necessary groundwork for the successful South African and American antiapartheid movements. Though African Americans suffered under Jim Crow racial discrimination, oppressed Africans saw African Americans as free people who had risen from slavery to success and were role models and potential liberators.
Many African Americans, regarded initially by the South African government as “honorary whites” exempt from segregation, also saw their activities in South Africa as a divinely ordained mission to establish “Africa for Africans,” liberated from European empires. The Jamaican-born Marcus Garvey’s Universal Negro Improvement Association, the largest black-led movement with two million members and supporters in forty-three countries at its height in the early 1920s, was the most anticipated source of liberation. Though these liberation prophecies went unfulfilled, black South Africans continued to view African Americans as inspirational models and as critical partners in the global antiapartheid struggle.
The Americans Are Coming! is a rare case study that places African history and American history in a global context and centers Africa in African Diaspora studies.
A few years ago, a debate between atheists and religious believers spilled out from the halls of academia and the pews of America’s churches and into the public spotlight. A crop of atheist manifestos led the charge, surmounting and holding the tops of the nonfiction bestseller lists. This offensive brought on an outpouring of religious rebuttals. As both sides exchanged spirited volleys, accusations were leveled; myths, stereotypes, and strawmen arguments were perpetuated; and bitter hostility filled the air. Today many of these misconceptions and myths linger on, along with the generally acrimonious spirit of the debate.
In America’s Blessings, distinguished researcher Rodney Stark seeks to clear the air of this hostility and debunk many of the debate’s most widely perpetuated misconceptions by drawing from an expansive pool of sociological findings. Looking at the measurable effects of religious faith and practice on American society, Stark rises above the fray and focuses exclusively on facts. His findings may surprise many, atheists and believers alike.
Starting with a historical overview, Stark traces America’s religious roots from the founding of the country up through the present day, showing that religiosity in America has never been consistent, static, or monolithic. Interestingly, he finds that religious practice is now more prevalent than ever in America, despite any claims to the contrary. From here, Stark devotes whole chapters to unpacking the latest research on how religion affects different facets of modern American life, including crime, family life, sexuality, mental and physical health, sophistication, charity, and overall prosperity. The cumulative effect is that when translated into comparisons with western European nations, the United States comes out on top again and again. Thanks in no small part to America’s rich religious culture, the nation has far lower crime rates, much higher levels of charitable giving, better health, stronger marriages, and less suicide, to note only a few of the benefits.
In the final chapter, Stark assesses the financial impact of these religious realities. It turns out that belief benefits the American economy—and all 300 million citizens, believer and nonbeliever alike—by a conservative estimate of $2.6 trillion a year. Despite the atheist outcry against religion, the remarkable conclusion is clear: all Americans, from the most religious among us to our secular neighbors, really ought to count our blessings.
In a brilliant new interpretation, Campbell Craig and Fredrik Logevall reexamine the successes and failures of America’s Cold War. The United States dealt effectively with the threats of Soviet predominance in Europe and of nuclear war in the early years of the conflict. But by engineering this policy, American leaders successfully paved the way for domestic actors and institutions with a vested interest in the struggle’s continuation. Long after the USSR had been effectively contained, Washington continued to wage a virulent Cold War that entailed a massive arms buildup, wars in Korea and Vietnam, the support of repressive regimes and counterinsurgencies, and a pronounced militarization of American political culture.
America’s Japan and Japan’s Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how “Japan” and “Japanese culture” have been constructed, reconstructed, and transformed in response to the hundreds of productions that have taken place over the past sixty years in New York, the main entry point and defining cultural nexus in the United States for the global touring market in the performing arts. The author’s transdisciplinary approach makes the book appealing to those in the performing arts studies, Japanese studies, and cultural studies.
Susan Kassman Sack Catholic University of America Press, 2019 Library of Congress BX4705.T39S23 2019 | Dewey Decimal 282.092
America’s Teilhard: Christ and Hope in the 1960s is a study of the reception of Teilhard in the United States during this period and contributes to an awareness of the thought of this important figure and the impact of his work. Additionally, it further develops an understanding of U.S. Catholicism in all its dimensions during these years, and provides clues as to how it has unfolded over the past several decades. Susan Sack argues that the manner and intensity of the reception of Teilhard’s thought happened as it did at this point in history because of the confluence of the then developing social milieu, the disintegration of the immigrant Catholic subculture, and the opening of the church to the world through Vatican II. Additionally, as these social and historical events unfolded within U.S. culture during these years, the way Teilhard was read, and the contributions which his thought provided changed. This book considers his work as a carrier at times for an almost Americanist emphasis upon progress, energy and hope; in other years his teleological understanding of the value of suffering moves to center. Additionally, the stories of numerous persons – scientists, theologians, politicians, and scholars – who became involved in the American Teilhardian effort are detailed.
America’s Vietnam challenges the prevailing genealogy of Vietnam’s emergence in the American imagination—one that presupposes the Vietnam War as the starting point of meaningful Vietnamese-U.S. political and cultural involvements. Examining literature from as early as the 1820s, Marguerite Nguyen takes a comparative, long historical approach to interpreting constructions of Vietnam in American literature. She analyzes works in various genres published in English and Vietnamese by Monique Truong and Michael Herr as well as lesser-known writers such as John White, Harry Hervey, and Võ Phiến. The book’s cross-cultural prism spans Paris, Saigon, New York, and multiple oceans, and its departure from Cold War frames reveals rich cross-period connections.
America’s Vietnam recounts a mostly unexamined story of Southeast Asia’s lasting and varied influence on U.S. aesthetic and political concerns. Tracking Vietnam’s transition from an emergent nation in the nineteenth century to a French colony to a Vietnamese-American war zone, Nguyen demonstrates that how authors represent Vietnam is deeply entwined with the United States’ shifting role in the world. As America’s longstanding presence in Vietnam evolves, the literature it generates significantly revises our perceptions of war, race, and empire over time.
The Revolution’s aspiration was summed up by the phrase “life, liberty, and the pursuit of happiness.” Yet the American founding was also a bid for inclusion in the community of nations. According to Eliga Gould, America aspired to diplomatic recognition under international law and the authority to become an Atlantic colonizing power itself.
In order to win the famous battle of New Orleans, Andrew Jackson believed that it was necessary to declare martial law and suspend the writ of habeas corpus. In doing so, he achieved both a great victory and the notoriety of being the first American general to ever suspend civil liberties in America.
Andrew Jackson and the Politics of Martial Law tells the history of Jackson’s use of martial law and how the controversy surrounding it followed him throughout his life. The work engages the age-old controversy over if, when, and who should be able to subvert the Constitution during times of national emergency. It also engages the continuing historical controversy over Jackson’s political prowess and the importance of the rise of party politics during the early republic. As such, the book contributes to both the scholarship on Jackson and the legal and constitutional history of the intersection between the military and civilian spheres.
To fully understand the history of martial law and the subsequent evolution of a theory of emergency powers, Matthew Warshauer asserts, one must also understand the political history surrounding the discussion of civil liberties and how Jackson’s stature as a political figure and his expertise as a politician influenced such debates. Warshauer further explains that Abraham Lincoln cited Jackson’s use of the military and suspension of civil liberties as justification for similar decisions during the Civil War. During both Jackson’s and Lincoln’s use of martial law, critics declared that such an action stood in opposition to both the Constitution and the nation’s cherished republican principles of protecting liberty from dangerous power, especially that of the military. Supporters of martial law insisted that saving the nation became the preeminent cause when the republic was endangered. At the heart of such arguments lurked the partisan maneuvering of opposing political parties.
Andrew Jackson and the Politics of Martial Law is a powerful examination of the history of martial law, its first use in the United States, and the consequent development of emergency powers for both military commanders and presidents.
Matthew Warshauer is associate professor of history at Central Connecticut State University. He is the author of the forthcoming Andrew Jackson: First Men, America’s Presidents. His articles have appeared in Tennessee Historical Quarterly, Connecticut History, Louisiana History, and New York History.
Anglophilia charts the phenomenon of the love of Britain that emerged after the Revolution and remains in the character of U.S. society and class, the style of academic life, and the idea of American intellectualism. But as Tamarkin shows, this Anglophilia was more than just an elite nostalgia; it was popular devotion that made reverence for British tradition instrumental to the psychological innovations of democracy. Anglophilia spoke to fantasies of cultural belonging, polite sociability, and, finally, deference itself as an affective practice within egalitarian politics.
Tamarkin traces the wide-ranging effects of anglophilia on American literature, art and intellectual life in the early nineteenth century, as well as its influence in arguments against slavery, in the politics of Union, and in the dialectics of liberty and loyalty before the civil war. By working beyond narratives of British influence, Tamarkin highlights a more intricate culture of American response, one that included Whig elites, college students, radical democrats, urban immigrants, and African Americans. Ultimately, Anglophila argues that that the love of Britain was not simply a fetish or form of shame-a release from the burdens of American culture-but an anachronistic structure of attachement in which U.S. Identity was lived in other languages of national expression.
In the 1930s African Americans faced three distinct historical crises that impacted the lives of African Americans directly—the Great Depression, the existential-identity crisis, and the Italo-Ethiopian War, with its threat of a race war. A sizeable body of black poetry was produced in this decade, which captured the new modes of autonomy through which black Americans resisted these social calamities. Much of it, however, including the most influential protest poems, was dismissed as “romantic” by major, leftist critics and anthologists.
Anthems, Sonnets, and Chants: Recovering the African American Poetry of the 1930s, by Jon Woodson, uses social philology to unveil social discourse, self fashioning, and debates in poems gathered from anthologies, magazines, newspapers, and individual collections. The first chapter examines three long poems, finding overarching jeremiadic discourse that inaugurated a militant, politically aware agent. Chapter two examines self-fashioning in the numerous sonnets that responded to the new media of radio, newsreels, movies, and photo-magazines. The third chapter shows how new subjectivities were generated by poetry addressed to the threat of race war in which the white race was exterminated.
The black intellectuals who dominated the interpretative discourses of the 1930s fostered exteriority, while black culture as a whole plunged into interiority. Anthems, Sonnets, and Chants delineates the struggle between these inner and outer worlds, a study made difficult by a contemporary intellectual culture which recoils from a belief in a consistent, integrated self.
Although the Japanese empire rapidly dissolved following the end of World War II, the memories, mourning, and trauma of the nation's imperial exploits continue to haunt Korea, China, and Taiwan. In Anti-Japan Leo T. S. Ching traces the complex dynamics that shape persisting negative attitudes toward Japan throughout East Asia. Drawing on a mix of literature, film, testimonies, and popular culture, Ching shows how anti-Japanism stems from the failed efforts at decolonization and reconciliation, the Cold War and the ongoing U.S. military presence, and shifting geopolitical and economic conditions in the region. At the same time, pro-Japan sentiments in Taiwan reveal a Taiwanese desire to recoup that which was lost after the Japanese empire fell. Anti-Japanism, Ching contends, is less about Japan itself than it is about the real and imagined relationships between it and China, Korea, and Taiwan. Advocating for forms of healing that do not depend on state-based diplomacy, Ching suggests that reconciliation requires that Japan acknowledge and take responsibility for its imperial history.
Federico García Lorca (1898–1936) had enormous impact on the generation of American poets who came of age during the cold war, from Robert Duncan and Allen Ginsberg to Robert Creeley and Jerome Rothenberg. In large numbers, these poets have not only translated his works, but written imitations, parodies, and pastiches—along with essays and critical reviews. Jonathan Mayhew’s Apocryphal Lorca is an exploration of the afterlife of this legendary Spanish writer in the poetic culture of the United States.
The book examines how Lorca in English translation has become a specifically American poet, adapted to American cultural and ideological desiderata—one that bears little resemblance to the original corpus, or even to Lorca’s Spanish legacy. As Mayhew assesses Lorca’s considerable influence on the American literary scene of the latter half of the twentieth century, he uncovers fundamental truths about contemporary poetry, the uses and abuses of translation, and Lorca himself.
For centuries, the goal of archaeologists was to document and describe material artifacts, and at best to make inferences about the origins and evolution of human culture and about prehistoric and historic societies. During the 1960s, however, a number of young, primarily American archaeologists, including William Longacre, rebelled against this simplistic approach. Wanting to do more than just describe, Longacre and others believed that genuine explanations could be achieved by changing the direction, scope, and methodology of the field. What resulted was the New Archaeology, which blended scientific method and anthropology. It urged those working in the field to formulate hypotheses, derive conclusions deductively and, most important, to test them. While, over time the New Archaeology has had its critics, one point remains irrefutable: archaeology will never return to what has since been called its “state of innocence.”
In this collection of twelve new chapters, four generations of Longacre protégés show how they are building upon and developing but also modifying the theoretical paradigm that remains at the core of Americanist archaeology. The contributions focus on six themes prominent in Longacre’s career: the intellectual history of the field in the late twentieth century, archaeological methodology, analogical inference, ethnoarchaeology, cultural evolution, and reconstructing ancient society.
More than a comprehensive overview of the ideas developed by one of the most influential scholars in the field, however, Archaeological Anthropology makes stimulating contributions to contemporary research. The contributors do not unequivocally endorse Longacre’s ideas; they challenge them and expand beyond them, making this volume a fitting tribute to a man whose robust research and teaching career continues to resonate.
Archaeologies of Modernity explores the shift from the powerful tradition of literary forms of Bildung—the education of the individual as the self—to the visual forms of “Bildung” (from Bild) that characterize German modernism and the European avant-garde. Interrelated chapters examine the work of Franz Kafka, Jean/Hans Arp, Walter Benjamin, and Carl Einstein, and of artists such as Oskar Kokoschka or Kurt Schwitters, in the light of the surge of an autoformation (Bildung) of verbal and visual images at the core of expressionist and surrealist aesthetics and the art that followed. In this first scholarly focus on modernist avant-garde Bildung in its entwinement of conceptual modernity with forms of the archaic, Rumold resituates the significance of the poet and art theorist Einstein and his work on the language of primitivism and the visual imagination. Archaeologies of Modernity is a major reconsideration of the conception of the modernist project and will be of interest to scholars across the disciplines.
Architects of Globalism provides the first comprehensive analysis of American Blueprints for the reconstruction of the world after the defeat of Hitler and his allies. Working closely with Roosevelt and Truman, State Department officials assumed primary responsibility for drafting these plans. Hearden shows that bitter rivalries frequently divided these officials, but that there was remarkable agreement among them on fundamental principles. These architects of globalism sought to create a liberal capitalist world system, in which foreign markets would absorb the surplus products of American farms and factories so that the United States would be able to maintain high levels of employment without further government intervention in the economy. Hearden shows these men contending with the vital issues of the day: decolonization and the dismantling of empires, relations with the Soviet Union, the formation of the United Nations, the economic reconstruction of war-torn countries, the forging of new relations with Germany and Japan, the twin problems of Palestine and petroleum. Based on extensive new research in primary sources — from policymakers' private letters and personal diaries to official correspondence — this exciting book documents the formation of the postwar world.
Ariel and the Police
Frank Lentricchia University of Wisconsin Press, 1989 Library of Congress PS3537.T4753Z6746 1988 | Dewey Decimal 811.52
In Ariel and the Police, Frank Lentricchia searches through the totalizing desires for power that have built and help to maintain tangible and intangible structures of confinement and purification within, and sometimes as, the house of modernism. And what he finds, in his lyrical effort to redeem the subject for history, is that someone lives there, slyly, sometimes even playfully defiant.
In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.
Arthur Miller's Global Theater
Enoch Brater, Editor University of Michigan Press, 2007 Library of Congress PS3525.I5156Z535 2007 | Dewey Decimal 812.52
No American playwright is more revered on the international stage than Arthur Miller. In Arthur Miller’s Global Theater—a fascinating collection of new essays by leading international critics and scholars—readers learn how and why audiences around the world have responded to the work of the late theatrical icon. With perspectives from diverse corners of the globe, from Israel to Japan to South Africa, this groundbreaking volume explores the challenges of translating one of the most American of American playwrights and details how disparate nations have adapted meaning in Miller’s most celebrated dramas.
An original and engaging collection that will appeal to theater aficionados, scholars, students, and all those interested in Miller and his remarkable oeuvre, Arthur Miller’s Global Theater illustrates how dramas such as Death of a Salesman,The Crucible, and A View from the Bridge developed a vigorous dialogue with new audiences when they crossed linguistic and national borders. In these times when problems of censorship, repressive regimes, and international discord are increasingly in the news, Arthur Miller’s voice has never been more necessary as it continues to be heard and celebrated around the world.
Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature at the University of Michigan. His other books include Arthur Miller: A Playwright’s Life and Works and Arthur Miller’s America.
On May 19, 1933, President Franklin D. Roosevelt announced the appointment of Arthur Morgan (1878–1975), a water-control engineer and college president from Ohio, as the chairman of the newly created Tennessee Valley Authority (TVA). With the eyes of the nation focused on the reform and recovery promised by the New Deal, Morgan remained in the national spotlight for much of the 1930s, as his visionary plans for the TVA drew both support and criticism. In this thoughtful biography, Aaron D. Purcell re-assesses Morgan’s long life and career and provides the first detailed account of his post-TVA activities and fascination with utopian writer Edward Bellamy. As Purcell demonstrates, Morgan embraced an alternative type of Progressive Era reform throughout his life which was rooted in nineteenth-century socialism, an overlooked, but important, strain in American political thought.
Purcell pinpoints Morgan’s reading of Edward Bellamy’s Looking Backward while a teenager as a watershed moment in the development of his vision for building modern American society. He recounts Morgan’s early successes as an engineer, budding Progressive leader, and educational reformer; his presidency of Antioch College; and his revolutionary but contentious tenure at the TVA. After his dismissal from the TVA, Morgan wrote extensively, eventually publishing over a dozen books, including a biography of Edward Bellamy, and countless articles. He also raised money to support an experimental community in Kerala, India, sharing Mahatma Gandhi’s belief in small, self-sustaining communities cooperatively supported by persons of strong moral character. At the same time, however, Morgan retained many of his late-nineteenth century beliefs, including eugenics, as part of his societal vision. His authoritarian administrative style and moral rigidity limited his ability to attract large numbers to his community-based vision.
As Purcell demonstrates, Morgan remained an active reformer well into the second half of the twentieth century, carrying forward a vision for American reform decades after his Progressive Era contemporaries had faded into obscurity. By presenting Morgan’s life and career within the context of the larger social and cultural events of his day, this revealing biographical study offers new insight into the achievements and motivations of an important but historically neglected American reformer.
Aaron D. Purcell is director of special collections at Virginia Tech. He is the author of White Collar Radicals: TVA’s Knoxville Fifteen, the New Deal, and the McCarthy Era and Academic Archives: Managing the Next Generation of College and University Archives, Records, and Special Collections. His articles have appeared in the The American Archivist, The Journal of East Tennessee History, The Historian, and the Tennessee Historical Quarterly.
While basketball didn’t take up residence in the White House in January 2009, the game nonetheless played an outsized role in forming the man who did. In The Audacity of Hoop, celebrated sportswriter Alexander Wolff examines Barack Obama, the person and president, by the light of basketball. This game helped Obama explore his identity, keep a cool head, impress his future wife, and define himself as a candidate.
Wolff chronicles Obama’s love of the game from age 10, on the campaign trail—where it eventually took on talismanic meaning—and throughout his two terms in office. More than 125 photographs illustrate Obama dribbling, shooting free throws, playing pickup games, cooling off with George Clooney, challenging his special assistant Reggie Love for a rebound, and taking basketball to political meetings. There is also an assessment of Obama’s influence on the NBA, including a dawning political consciousness in the league’s locker rooms.
Sidebars reveal the evolution of the president’s playing style, “Baracketology”—a not-entirely-scientific art of filling out the commander in chief’s NCAA tournament bracket—and a timeline charts Obama’s personal and professional highlights.
Equal parts biographical sketch, political narrative, and cultural history, The Audacity of Hoop shows how the game became a touchstone in Obama’s exercise of the power of the presidency.
The amount of fan-generated content about Jane Austen and her novels has long surpassed the author’s original canon. Adaptations like Clueless, Pride and Prejudice and Zombies, Jane Austen’s Fight Club, and The Lizzie Bennet Diaries have given Austen fans priceless opportunities to enjoy the classic texts anew, and continue to bring new and younger fans into the fold. Now, through online culture, the amount and type of fan-created works has exponentially multiplied in recent years. Fans write stories, create art, make videos, and craft memes, all in homage to one of the most celebrated authors of all time.
This book explores online fan spaces in search of “Janeites” all over the world to discover what fans are making, how fans are sharing their work, and why it matters that so many women and nonbinary individuals find a haven not only in Jane Austen, but also in Jane Austen fandom. In relatable chapters based on firsthand experience, the authors explore how Austen fandom has and continues to build communities around women, people of color, and the LGBTQ+ community. Whether Janeites are shrewdly picking up on the latent sexual tension between women in Emma or casting people of color in leading roles, Luetkenhaus and Weinstein argue that Austen fans are particularly adept at marrying fantasy and feminism.