A SCHOLARLY BOOK REPOSITORY63 start with M start with M
As a scholar of intellectual and cultural history, Dawidoff takes the stance that historians ought to take an active role in our democratic culture, informing and participating in public discourse. He argues for a broad reach when it comes to cultural expression, resisting the polarization of formal intellectual history and folk or commercial popular culture. In his view, Ralph Waldo Emerson and Katherine Hepburn are equally worthy topics for a historian's consideration, provided that they are treated with equal seriousness of purpose and analytic rigor. In "The Gay Nineties" section that closes the book, he traces key events in the continual struggle for gay and lesbian civil rights and takes on such unresolved issues as safer sex, needle exchange programs to control HIV transmission, and the public controversy around the portrayal of gay and lesbian television characters.
Divided into sections that deal with the patriarchs of American political and intellectual culture, expressive culture, and a historian's public voice, this book is a model of engaged and engaging writing. Accessible and witty, Making History Matter will appeal to general and academic readers interested in American history as well as gay and lesbian political and cultural issues.
Complex, controversial, and prolific, Howard Barnstone was a central figure in the world of twentieth-century modern architecture. Recognized as Houston’s foremost modern architect in the 1950s, Barnstone came to prominence for his designs with partner Preston M. Bolton, which transposed the rigorous and austere architectural practices of Ludwig Mies van der Rohe to the hot, steamy coastal plain of Texas. Barnstone was a man of contradictions—charming and witty but also self-centered, caustic, and abusive—who shaped new settings that were imbued, at once, with spatial calm and emotional intensity.
Making Houston Modern explores the provocative architect’s life and work, not only through the lens of his architectural practice but also by delving into his personal life, class identity, and connections to the artists, critics, collectors, and museum directors who forged Houston’s distinctive culture in the postwar era. Edited by three renowned voices in the architecture world, this volume situates Barnstone within the contexts of American architecture, modernism, and Jewish culture to unravel the legacy of a charismatic personality whose imaginative work as an architect, author, teacher, and civic commentator helped redefine architecture in Texas.
The Making of the New Negro examines black masculinity in the period of the Harlem Renaissance, a cultural movement that spanned the 1920s and 1930s in America and was marked by an outpouring of African American art, music, theater and literature. The Harlem Renaissance, or New Negro Movement, began attracting extensive academic attention in the 1990s as scholars discovered how complex, significant, and fascinating it was.
The connection between mind and brain has been one of the most persistent problems in modern Western thought; even recent advances in neuroscience haven’t been able to explain it satisfactorily. Historian Larry Sommer McGrath’s Making Spirit Matter studies how a particularly productive and influential group of nineteenth- and early twentieth-century French thinkers attempted to solve this puzzle by showing the mutual dependence of spirit and matter. The scientific revolution taking place at this point in history across disciplines, from biology to psychology and neurology, located our mental powers in the brain and offered a radical reformulation of the meaning of society, spirit, and the self. Tracing connections among thinkers such as Henri Bergson, Alfred Fouillée, Jean-Marie Guyau, and others, McGrath plots alternative intellectual movements that revived themes of creativity, time, and experience by applying the very sciences that seemed to undermine metaphysics and religion. Making Spirit Matter lays out the long legacy of this moment in the history of ideas and how it might renew our understanding of the relationship between mind and brain today.
Long before Stonewall, young Air Force veteran Edward Field, fresh from combat in WWII, threw himself into New York’s literary bohemia, searching for fulfillment as a gay man and poet. In this vivid account of his avant-garde years in Greenwich Village and the bohemian outposts of Paris’s Left Bank and Tangier—where you could write poetry, be radical, and be openly gay—Field opens the closet door to reveal, as never been seen before, some of the most important writers of his time.
Here are young, beautiful Susan Sontag sitting at the feet of her idol Alfred Chester, who shrewdly plotted to marry her; May Swenson and her two loves; Paul and Jane Bowles in their ambiguous marriage; Frank O’Hara in and out of bed; Fritz Peters, the anointed son of Gurdjieff; and James Baldwin, Isabel Miller (Patience and Sarah), Tobias Schneebaum, Robert Friend, and many others. With its intimate portraits, Field’s memoir brings back a forgotten era—postwar bohemia—bawdy, comical, romantic, sad, and heroic.
The recent revolution in the protocols of reading brought on by computer technology has forced questions about the nature of book-based knowledge in our global culture. Managing Readers traces changes in the protocols of annotation and directed reading--from medieval religious manuscripts and Renaissance handbooks for explorers, rhetoricians, and politicians to the elegant clear-text editions of the Enlightenment and the hypertexts of our own time. Developing such concepts as textual authority, generic difference, and reader-response, Slights demonstrates that printed marginalia were used to confirm the authority of the text and to undermine it, to supplement "dark" passages, and to colonize strategic hermeneutic spaces. The book contains twenty-two illustrations of pages from rare-book archives that make immediately clear how distinctive the management of the reading experience was during the first century-and-a-half of printing in England.
William W. E. Slights is Professor of English, University of Saskatchewan. He is also author of Ben Jonson and the Art of Secrecy.
A Man’s Game explores the development of American literary naturalism as it relates to definitions of manhood in many of the movement’s key texts and the aesthetic goals of writers such as Stephen Crane, Jack London, Frank Norris, Edith Wharton, Charles Chestnutt, and James Weldon Johnson. John Dudley argues that in the climate of the late 19th century, when these authors were penning their major works, literary endeavors were widely viewed as frivolous, the work of ladies for ladies, who comprised the vast majority of the dependable reading public. Male writers such as Crane and Norris defined themselves and their work in contrast to this perception of literature. Women like Wharton, on the other hand, wrote out of a skeptical or hostile reaction to the expectations of them as woman writers.
Dudley explores a number of social, historical, and cultural developments that catalyzed the masculine impulse underlying literary naturalism: the rise of spectator sports and masculine athleticism; the professional role of the journalist, adopted by many male writers, allowing them to camouflage their primary role as artist; and post-Darwinian interest in the sexual component of natural selection. A Man’s Game also explores the surprising adoption of a masculine literary naturalism by African American writers at the beginning of the 20th century, a strategy, despite naturalism's emphasis on heredity and genetic determinism, that helped define the black struggle for racial equality
"In applying a realist approach to controversies over immigration, pornography, race relations, and the apparent communications gap between the genders, Wolfe seeks to demonstrate the advantages of combining the insights of criticism and the tools of social science."—Library Journal
"A plea for a return to liberal thinking, an insistence on the value of 'social criticism beyond politics.' "—Washington Post Book World
"[Wolfe] surveys contemporary public discourse on racial and sexual relations, welfare policy, immigration, pornography, education and cultural politics . . . he manages to bring some fresh thinking to most of these stale debates."—T. J. Jackson Lears, New York Times Book Review
Marie Syrkin’s life spanned ninety years of the twentieth century, 1899–1989. As a polemical journalist, socialist Zionist, poet, educator, literary critic, translator, and idiosyncratic feminist, she was an eyewitness to and reporter on most of the major events in America, Israel, and Europe. Beautiful as well as brilliant, she had a rich personal life as a lover, wife, mother, and friend. During her lifetime Syrkin’s name was widely recognized in the world of Jewish life and letters. Yet, since Syrkin’s death, recognition of her name is no longer quite so immediate. Carole S. Kessner’s biography restores Syrkin’s fascinating life and legacy for a new generation.
Interpretive social science and literary analysis converge in this absorbing book. It is a psychosocial drama in three acts, featuring three very different confrontations between nineteenth-century Americans and the natives of the Marquesas Islands. The Americans, in seeking to come to terms with the Marquesans, found their own cultural identity challenged; they were compelled, under conditions of extreme psychic stress, to discover what it meant to them to be civilized.
The protagonists are the Reverend William Alexander, who led a mission to the Marquesas to rescue the islanders from sin and savagery through the word of God; Captain David Porter, a rationalist intent upon civilizing the natives by educating them; and Herman Melville, seaman, who was held captive for a time by the Typees. The Calvinist, rationalist, and romantic preconceptions of the three were shaken by their experiences in the alien environment of Polynesia. Only Melville, however, came to investigate the civilized identity itself as a source of these shared consternations. T. Walter Herbert offers a fresh perspective on Melville's Typee by considering it in the context of the earlier encounters, and by drawing, as he does throughout, on the insights of cultural anthropology.
Martin Buber (1878–1965) has had a tremendous impact on the development of Jewish thought as a highly influential figure in 20th-century philosophy and theology. However, most of his key publications appeared during the last forty years of his life and little is known of the formative period in which he was searching for, and finding, the answers to crucial dilemmas affecting Jews and Germans alike. Now available in paperback, Martin Buber’s Formative Years illuminates this critical period in which the seeds were planted for all of his subsequent work.
During the period from 1897 to 1909, Buber's keen sense of the crisis of humanity, his intimate knowledge of German culture and Jewish sources, and his fearlessness in the face of possible ridicule challenged him to behave in a manner so outrageous and so contrary to German-Jewish tradition that he actually achieved a transformation of himself and those close to him. Calling on spiritual giants of great historical periods in German, Christian, and Jewish history—such as Nicolas of Cusa, Jakob Boehme, Israel Baal Shem Tov, Rabbi Nachman of Brazlav, Johann Wolfgang von Goethe, and Friedrich Nietzsche—Buber proceeded to subvert the existing order by turning his upside-down world of slave morality right side up once more.
By examining the multitude of disparate sources that Buber turned to for inspiration, Gilya Gerda Schmidt elucidates Buber's creative genius and his contribution to turn-of-the-century Jewish renewal. This comprehensive study concludes that Buber was successful in creating the German-Jewish symbiosis that emancipation was to have created for the two peoples but that this synthesis was tragic because it came too late for practical application by Jews in Germany.
In Mary Austin’s Southwest, editors Blackbird and Nelson shine light on Austin’s work, revealing her to be a significant trailblazer for literary diversity. With thoughtful introductions to selected writings on Austin’s prose, drama, and poetry as well as an annotated checklist of her published Southwestern literary criticism, this collection is a celebration of a rich mixed heritage as expressed through the written word.
Grant’s book provides close readings of Jean Toomer (Cane and Natalie Mann) and Zora Neale Hurston (Moses, Man of the Mountain, Seraph of the Suwanee, and Their Eyes Were Watching God), for whom the American South was a crucial locus of the African American experience. Toomer and Hurston were virtually alone among the Harlem Renaissance writers of prose who returned to the South for their literary materials. That return, however, allowed their rediscovery of key black masculine values and charted the northern route of those values in the twentieth century to their compromise and destruction.
Grant then moves on to three more recent writers—John Edgar Wideman, Gloria Naylor, and Toni Morrison—who expanded upon and transformed the themes of Toomer and Hurston. Like Toomer and Hurston, these later authors recognized the need for the political union of black men and women in the effort to realize the goals of equity and justice.
Masculinist Impulses discusses nineteenth- and twentieth-century black masculinity as both a feature and a casualty of modernism. Scholars and students of African American literature will find Grant’s nuanced and creative readings of these key literary texts invaluable.
When Mayan leaders protested the celebration of the Quincentenary of the "discovery" of America and joined with other indigenous groups in the Americas to proclaim an alternate celebration of 500 years of resistance, they rose to national prominence in Guatemala. This was possible in part because of the cultural, political, economic, and religious revitalization that occurred in Mayan communities in the later half of the twentieth century. Another result of the revitalization was Mayan students' enrollment in graduate programs in order to reclaim the intellectual history of the brilliant Mayan past. Victor Montejo was one of those students.
This is the first book to be published outside of Guatemala where a Mayan writer other than Rigoberta Menchu discusses the history and problems of the country. It collects essays Montejo has written over the past ten years that address three critical issues facing Mayan peoples today: identity, representation, and Mayan leadership. Montejo is deeply invested in furthering the discussion of the effectiveness of Mayan leadership because he believes that self-evaluation is necessary for the movement to advance. He also criticizes the racist treatment that Mayans experience, and advocates for the construction of a more pluralistic Guatemala that recognizes cultural diversity and abandons assimilation. This volume maps a new political alternative for the future of the movement that promotes inter-ethnic collaboration alongside a reverence for Mayan culture.
Measuring the Harlem Renaissance sifts through a wide range of authors and ideas—from W. E. B. Du Bois, Rudolph Fisher, and Nella Larsen to Zora Neale Hurston, Langston Hughes, and Wallace Thurman, and from census history to the Great Migration—to provide a fresh take on late nineteenth—and twentieth—century literature and social thought. Soto reveals how Harlem came to be known as the "cultural capital of black America," and how these ideas left us with unforgettable fiction and poetry.
"Nine autobiographical tales that move easily back and forth among Pakistan, Britain, and the United States. . . . She forays lightly into Pakistani history, and deeply
into the history of her family and friends. . . . The Suleri women at home in Pakistan make this book sing."—Daniel Wolfe, New York Times Book Review
"A jewel of insight and beauty. . . . Suleri's voice has the same authority when she speaks about Pakistani politics as it does in her literary interludes."—Rone Tempest, Los Angeles Times Book Review
"The author has a gift for rendering her family with a few, deft strokes, turning them out as whole and complete as eggs."—Anita Desai, Washington Post Book World
"Meatless Days takes the reader through a Third World that will surprise and confound him even as it records the author's similar perplexities while coming to terms with the West. Those voyages Suleri narrates in great strings of words and images so rich that they left this reader . . . hungering for more."—Ron Grossman, Chicago Tribune
"Dazzling. . . . Suleri is a postcolonial Proust to Rushdie's phantasmagorical Pynchon."—Henry Louise Gates, Jr., Voice Literary Supplement
Concern with memory permeated Roman literature, history, rhetorical training, and art and architecture. This is the first book to look at the phenomenon from a variety of perspectives, including cognitive science. There is no orthodoxy in memory studies and the approaches are both empirical and theoretical. A central issue is: who and what preserved and shaped cultural memory in Rome, and how did that process work? Areas and subjects covered include the Romans' view of the changing physical fabric of the city, monuments (by etymology related to memory) such as the Arch of Constantine, memory and the Roman triumph, Roman copies of Greek sculpture and their relation to memory, the importance of written information and of continuing process, the creation of memory in Republican memoirs and Flavian poetry, the invention of traditions, and the connection of cultural and digital memory.
The ten chapters present original findings that complement earlier scholarship from the perspective of memory and open up new horizons for inquiry. The introduction by volume editor Karl Galinsky situates the work within current studies on cultural and social memory, and the concluding chapter by Daniel Libeskind provides the perspective of a contemporary practitioner.
Additional contributors include Richard Jenkyns, Harriet I. Flower, T. P. Wiseman, Karl-J. Hölkeskamp, Gianpiero Rosati, Diane Favro, Jessica Hughes, Anna Anguissola, Lisa Marie Mignone, and Bernard Frischer.
In Jennifer Summit’s account, libraries are more than inert storehouses of written tradition; they are volatile spaces that actively shape the meanings and uses of books, reading, and the past. Considering the two-hundred-year period between 1431, which saw the foundation of Duke Humfrey’s famous library, and 1631, when the great antiquarian Sir Robert Cotton died, Memory’s Library revises the history of the modern library by focusing on its origins in medieval and early modern England.
Summit argues that the medieval sources that survive in English collections are the product of a Reformation and post-Reformation struggle to redefine the past by redefining the cultural place, function, and identity of libraries. By establishing the intellectual dynamism of English libraries during this crucial period of their development, Memory’s Library demonstrates how much current discussions about the future of libraries can gain by reexamining their past.
Mestizaje—the process of cultural, ethnic, and racial mixing of Spanish and indigenous peoples—has been central to the creation of modern national identity in Bolivia and much of Latin America. Though it originally carried negative connotations, by the early twentieth century it had come to symbolize a national unity that transcended racial divides.
Javier Sanjinés C. contends that mestizaje, rather than a merging of equals, represents a fundamentally Western perspective that excludes indigenous ways of viewing the world. In this sophisticated study he reveals how modernity in Bolivia has depended on a perception, forged during the colonial era, that local cultures need to be uplifted.
Sanjinés traces the rise of mestizaje as a defining feature of Bolivian modernism through the political struggles and upheavals of the twentieth century. He then turns this concept upside-down by revealing how the dominant discussion of mestizaje has been resisted and transformed by indigenous thinkers and activists. Rather than focusing solely on political events, Sanjinés grounds his argument in an examination of fiction, political essays, journalism, and visual art, offering a unique and masterly overview of Bolivian culture, identity, and politics.
Migration and continuity have shaped both the Chicano people and their oral and written literature. In this pathfinding study of Chicano literature, Teresa McKenna specifically explores how these works arise out of social, political, and psychological conflict and how the development of Chicano literature is inextricably embedded in this fact.
McKenna begins by appraising the evolution of Chicano literature from oral forms—including the important role of the corrido in the development of Chicano poetry. In subsequent chapters she examines the works of Richard Rodriguez and Rolando Hinojosa. She also devotes a chapter to the development of the Chicana voice in Chicano literature. Her epilogue considers the parallel development of Chicano literary theory and discusses some possible directions for research.
In McKenna's own words, "I believe that the future of this literature, as that of all literatures by people of color in the United States, rests largely on its being effectively introduced into the curricula at all levels, as well as its entrance into the critical consciousness of literary theory." This book will be an important step in that process.
Through a blend of personal narrative, cultural and literary analysis, and discussions about teaching, Minor Re/Visions: Asian American Literacy Narratives as a Rhetoric of Citizenship shows how people of color use reading and writing to develop and articulate notions of citizenship. Morris Young begins with a narration of his own literacy experiences to illustrate the complicated relationship among literacy, race, and citizenship and to reveal the tensions that exist between competing beliefs and uses of literacy among those who are part of dominant American culture and those who are positioned as minorities.
Influenced by the literacy narratives of other writers of color, Young theorizes an Asian American rhetoric by examining the rhetorical construction of American citizenship in works such as Richard Rodriguez’s Hunger of Memory, Victor Villanueva’s Bootstraps: From an American Academic of Color, Carlos Bulosan’s America Is in the Heart, and Maxine Hong Kingston’s “Song for a Barbarian Reed Pipe” from Woman Warrior. These narratives, Young shows, tell stories of transformation through education, the acquisition of literacy, and cultural assimilation and resistance. They also offer an important revision to the American story by inserting the minor and creating a tension amid dominant discourses about literacy, race, and citizenship. Through a consideration of the literacy narratives of Hawai`i, Young also provides a context for reading literacy narratives as responses to racism, linguistic discrimination, and attempts at “othering” in a particular region.
As we are faced with dominant discourses that construct race and citizenship in problematic ways and as official institutions become even more powerful and prevalent in silencing minor voices, Minor Re/Visions reveals the critical need for revising minority and dominant discourses. Young’s observations and conclusions have important implications for the ways rhetoricians and compositionists read, teach, and assign literacy narratives.
Powell begins with a section on the British, exploring his fascination both with genealogy and with figures like John Aubrey, and writing in depth about writers like Kipling, Conrad, and Hardy. The second section, on America, also opens with discussions of family trees (in this case presidential ones) and includes pieces on Henry James, James Thurber, American booksellers in Paris, Hemingway, and Dashiell Hammett. Personal encounters, and absorbing incidents from the lives of his subjects, frequently fill these pages—as they do even more in the section on Powell's contemporaries—Connolly, Orwell, Graham Greene, and others. Finally, and aptly, the book closes with a section on Proust and matters Proustian, including a marvellous essay on what is eaten and drunk, and by whom, in A la Recherche du Temps Perdu.
"An urbane book, quietly erudite, very sensible, highly civilized, remarkably useful."—Anthony Burgess, Observer
"An acute intelligence and fastidious sense of humor make [Powell] the funniest and most profound living writer of the English language."—Hugh Montgomery-Massingberd, Sunday Telegraph
Anthony Powell was born in London in 1905. He is the author of seven novels, a biography of John Aubrey, two plays, a collection of memoirs, and the twelve-volume novel sequence Dance to the Music of Time.
The United States Census 2000 presents a twenty-first century America in which mixed-race marriages, cross-race adoption, and multiracial families in general are challenging the ethnic definitions by which the nation has historically categorized its population. Addressing a wide spectrum of questions raised by this rich new cultural landscape, Mixing It Up brings together the observations of ten noted voices who have experienced multiracialism first-hand.
From Naomi Zack's "American Mixed Race: The United States 2000 Census and Related Issues" to Cathy Irwin and Sean Metzger's "Keeping Up Appearances: Ethnic Alien-Nation in Female Solo Performance," this diverse collection spans the realities of multiculturalism in compelling new analysis. Arguing that society's discomfort with multiracialism has been institutionalized throughout history, whether through the "one drop" rule or media depictions, SanSan Kwan and Kenneth Speirs reflect on the means by which the monoracial lens is slowly being replaced.
Itself a hybrid of memoir, history, and sociological theory, Mixing It Up makes it clear why the identity politics of previous decades have little relevance to the fluid new face of contemporary humanity.
Behind the façade of unity, the French intelligentsia was riven by the same fundamental divisions that had characterized it before the war. For example, the Republican Left argued that German nationalism and militarism began after Kant, with Fichte or Hegel, while the Catholic and nationalistic reactionary Right denounced Kant as the evil inspiration of France's liberal democracy and public school system. The heated rhetoric of the war and the unbearable loss of young lives, says Hanna, lent weight to a redefinition of French culture in national terms—and this, ironically, ended in the cultural conservatism of Vichy France.
This is the first study of the power of French pens and words during and after the Great War. It is a contribution to French and European history as well as to intellectual history.
Navigating deftly among historical and literary readings, Cathy Schlund-Vials examines the analogous yet divergent experiences of Asian Americans and Jewish Americans in Modeling Citizenship. She investigates how these model minority groups are shaped by the shifting terrain of naturalization law and immigration policy, using the lens of naturalization, not assimilation, to underscore questions of nation-state affiliation and sense of belonging.
Modeling Citizenship examines fiction, memoir, and drama to reflect on how the logic of naturalization has operated at discrete moments in the twentieth century. Each chapter focuses on two exemplary literary works. For example, Schlund-Vials shows how Mary Antin's Jewish-themed play The Promised Land is reworked into a more contemporary Chinese American context in Gish Jen's Mona in the Promised Land.
In her compelling analysis, Schlund-Vials amplifies the structural, cultural, and historical significance of these works and the themes they address.
The contributions of female artists to the development of literary and artistic modernism in early twentieth century France remain poorly understood. It was during this period that a so-called “modern woman” began occupying urban spaces associated with the development of modern art and modernism’s struggles to define subjectivities and sexualities. Whereas most studies of modernism’s formal innovations and its encouragement of artistic autonomy neglect or omit necessary discussions of gender, race, class, and sexual orientation, the contributors of The Modern Woman Revisited inject these perspectives into the discussion.
Between the two World Wars, Paris served as the setting for unparalleled freedom for expatriate as well as native-born French women, who enjoyed unprecedented access to education and opportunities to participate in public artistic and intellectual life. Many of these women made lasting contributions in art and literature. Some of the artists discussed include Colette, Tamara de Lempicka, Sonia Delaunay, Djuna Barnes, Augusta Savage, and Lee Miller.
Inthis book, an internationally recognized roster of art historians, literary critics, and other scholars offers a nuanced portrait of what it meant to be a modern woman during this decisive period of modernism’s development. Individual essays explore the challenges faced by women in the early decades of the twentieth century, as well as the strategies these women deployed to create their art and to build meaningful lives and careers. The introduction underscores the importance of the contributors’ efforts to engender larger questions about modernity, sexuality, race, and class.
Franke documents the untold history of the Cambridge Heretics Society and places the concerns of this discussion society in dialogue with contemporaneous literature by such authors as Pater, Hardy, Shaw, Joyce, Woolf, Lawrence, and Orwell. Since several highly influential figures of the modernist literati were members of the Heretics or in dialogue with the group, heresy and its relation to synthesis now become crucial to an understanding of modernist aesthetics and ethics.
From the 1880s through the 1920s, heresy commonly appears in literature as a discursive trope, and the literary mode of heresy shifts over the course of this time from one of syncretism to one based on the construction of modernist artificial or "synthetic" wholes. In Franke’s work, the discourse of heresy comes forth as a forgotten dimension of the origins of modernism, one deeply entrenched in Victorian blasphemy and the crisis in faith, and one pointing to the censorship of modernist literature and some of the first doctrines of literary criticism.
This is the story of a Chinese doctor, his book, and the creatures that danced within its pages. The Monkey and the Inkpot introduces natural history in sixteenth-century China through the iconic Bencao gangmu (Systematic materia medica) of Li Shizhen (1518–1593).
The encyclopedic Bencao gangmu is widely lauded as a classic embodiment of pre-modern Chinese medical thought. In the first book-length study in English of Li’s text, Carla Nappi reveals a “cabinet of curiosities” of gems, beasts, and oddities whose author was devoted to using natural history to guide the application of natural and artificial objects as medical drugs. Nappi examines the making of facts and weighing of evidence in a massive collection where tales of wildmen and dragons were recorded alongside recipes for ginseng and peonies.
Nappi challenges the idea of a monolithic tradition of Chinese herbal medicine by showing the importance of debate and disagreement in early modern scholarly and medical culture. The Monkey and the Inkpot also illuminates the modern fate of a book that continues to shape alternative healing practices, global pharmaceutical markets, and Chinese culture.
Over a forty-six-year career, Langston Hughes experimented with black folk expressive culture, creating an enduring body of extraordinary imaginative and critical writing. Riding the crest of African American creative energy from the Harlem Renaissance to the onset of Black Power, he commanded an artistic prowess that survives in the legacy he bequeathed to a younger generation of writers, including award winners Alice Walker, Paule Marshall, and Amiri Baraka.
Montage of a Dream extends and deepens previous scholarship, multiplying the ways in which Hughes’s diverse body of writing can be explored. The contributors, including such distinguished scholars as Steven Tracy, Trudier Harris, Juda Bennett, Lorenzo Thomas, and Christopher C. De Santis, carefully reexamine the significance of his work and life for their continuing relevance to American, African American, and diasporic literatures and cultures.
Probing anew among Hughes’s fiction, biographies, poetry, drama, essays, and other writings, the contributors assert fresh perspectives on the often overlooked “Luani of the Jungles” and Black Magic and offer insightful rereadings of such familiar pieces as “Cora Unashamed,” “Slave on the Block,” and Not without Laughter. In addition to analyzing specific works, the contributors astutely consider subjects either lightly explored by or unavailable to earlier scholars, including dance, queer studies, black masculinity, and children’s literature. Some investigate Hughes’s use of religious themes and his passion for the blues as the fabric of black art and life; others ponder more vexing questions such as Hughes’s sexuality and his relationship with his mother, as revealed in the letters she sent him in the last decade of her life.
Montage of a Dream richly captures the power of one man’s art to imagine an America holding fast to its ideals while forging unity out of its cultural diversity. By showing that Langston Hughes continues to speak to the fundamentals of human nature, this comprehensive reconsideration invites a renewed appreciation of Hughes’s work—and encourages new readers to discover his enduring relevance as they seek to understand the world in which we all live.
Proceeding from a consideration of the imaginative textual languages of contemporary African-American and West African writers, Holloway asserts the intertextuality of black women's literature across two continents. She argues the subtext of culture as the source of metaphor and language, analyzes narrative structures and linguistic processes, and develops a combined theoretical/critical apparatus and vocabulary for interpreting these writers' works. The cultural sources and spiritual considerations that inhere in these textual languages are discussed within the framework Holloway employs of patterns of revision, (re)membrance, and recursion--all of which are vehicles for expressive modes inscribed at the narrative level. Her critical reading of contemporary black women's writing in the United States and West Africa is unique, radical, and sure to be controversial.
In the early sixteenth century, the monk Filofei proclaimed Moscow the “Third Rome.” By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world.
Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today—transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.
Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.
Benjamin Franklin's invention of the lightning rod is the founding fable of American science, but Franklin was only one of many early Americans fascinated by electricity. As a dramatically new physical experience, electricity amazed those who dared to tame the lightning and set it coursing through their own bodies. Thanks to its technological and medical utility, but also its surprising ability to defy rational experimental mastery, electricity was a powerful experience of enlightenment, at once social, intellectual, and spiritual.
In this compelling book, James Delbourgo moves beyond Franklin to trace the path of electricity through early American culture, exploring how the relationship between human, natural, and divine powers was understood in the eighteenth century. By examining the lives and visions of natural philosophers, spectacular showmen, religious preachers, and medical therapists, he shows how electrical experiences of wonder, terror, and awe were connected to a broad array of cultural concerns that defined the American Enlightenment. The history of lightning rods, electrical demonstrations, electric eels, and medical electricity reveals how early American science, medicine, and technology were shaped by a culture of commercial performance, evangelical religion, and republican politics from mid-century to the early republic.
The first book to situate early American experimental science in the context of a transatlantic public sphere, A Most Amazing Scene of Wonders offers a captivating view of the origins of American science and the cultural meaning of the American Enlightenment. In a story of shocks and sparks from New England to the Caribbean, Delbourgo brilliantly illuminates a revolutionary New World of wonder.
Winner of the Hugo Award for Non-fiction
The unexpurgated edition of the award-winning autobiography
Born in New York City’s black ghetto Harlem at the start of World War II, Samuel R. Delany married white poet Marilyn Hacker right out of high school. The interracial couple moved into the city’s new bohemian quarter, the Lower East Side, in summer 1961. Through the decade’s opening years, new art, new sexual practices, new music, and new political awareness burgeoned among the crowded streets and cheap railroad apartments. Beautifully, vividly, insightfully, Delany calls up this era of exploration and adventure as he details his development as a black gay writer in an open marriage, with tertiary walk-ons by Bob Dylan, Stokely Carmichael, W. H. Auden, and James Baldwin, and a panoply of brilliantly drawn secondary characters.
Yue’s discussion begins with a brief look at ancient Chinese alimentary writing and then moves on to its main concern: the exploration and textual analysis of themes of eating in modern Chinese literature from the May Fourth period through the post-Tiananmen era. The broad historical scope of this volume illustrates how widely applicable eating-related metaphors can be. For instance, Yue shows how cannibalism symbolizes old China under European colonization in the writing of Lu Xun. In Mo Yan’s 1992 novel Liquorland, however, cannibalism becomes the symbol of overindulgent consumerism. Yue considers other writers as well, such as Shen Congwen, Wang Ruowang, Lu Wenfu, Zhang Zianliang, Ah Cheng, Zheng Yi, and Liu Zhenyun. A special section devoted to women writers includes a chapter on Xiao Hong, Wang Anyi, and Li Ang, and another on the Chinese-American women writers Jade Snow Wong, Maxine Hong Kingston, and Amy Tan. Throughout, the author compares and contrasts the work of these writers with similarly themed Western literature, weaving a personal and political semiotics of eating.
The Mouth That Begs will interest sinologists, literary critics, anthropologists, cultural studies scholars, and everyone curious about the semiotics of food.
Moving student writing beyond academic discourse and into larger public spheres is a difficult task, but Christian R. Weisser’s study challenges composition instructors to do just that. This highly accessible book does what no other study has attempted to do: place the most current, cutting-edge theories and pedagogies in rhetoric and composition in their intellectual and historical contexts, while at the same time offering a unique, practical theory and pedagogy of public writing for use both inside and outside of the classroom.
By positing a theory of the public for composition studies, one which envisions the public sphere as a highly contested, historically textured, multilayered, and sometimes contradictory site, Weisser offers a new approach to the roles that compositionists might assume in their attempts to initiate progressive political and social change.
After first providing a historical context that situates composition’s recent interest in public writing, Weisser next examines recent theories in composition studies that consider writing an act of social engagement before outlining a more complex theory of the public based on the work of Jürgen Habermas. The resulting re-envisioning of the public sphere expands current conversations in rhetoric and composition concerning the public.
Weisser concludes with a holistic vision that places greater political and social import on addressing public issues and conversations in the composition classroom and that elucidates the role of the public intellectual as it relates specifically to compositionists in postmodern society.
At its height in the sixteenth and seventeenth centuries, the Mughal Empire was one of the largest empires in Eurasia, with territory extending over most of the Indian subcontinent and much of present-day Afghanistan. As part of the Persianate world that spanned from the Bosphorus to the Bay of Bengal, Mughal rulers were legendary connoisseurs of the arts. Their patronage attracted poets, artists, and scholars from all parts of the eastern Islamic world. Persian was the language of the court, and poets from Safavid Iran played a significant role in the cultural life of the nobility. Mughal Arcadia explores the rise and decline of Persian court poetry in India and the invention of an enduring idea—found in poetry, prose, paintings, and architecture—of a literary paradise, a Persian garden located outside Iran, which was perfectly exemplified by the valley of Kashmir.
Poets and artists from Iran moved freely throughout the Mughal empire and encountered a variety of cultures and landscapes that inspired aesthetic experiments which continue to inspire the visual arts, poetry, films, and music in contemporary South Asia. Sunil Sharma takes readers on a dazzling literary journey over a vast geographic terrain and across two centuries, from the accession of the first emperor, Babur, to the throne of Hindustan to the reign of the sixth great Mughal, Aurangzeb, in order to illuminate the life of Persian poetry in India. Along the way, we are offered a rare glimpse into the social and cultural life of the Mughals.
The Muse in Bronzeville, a dynamic reappraisal of a neglected period in African American cultural history, is the first comprehensive critical study of the creative awakening that occurred on Chicago's South Side from the early 1930s to the cold war. Coming of age during the hard Depression years and in the wake of the Great Migration, this generation of Black creative artists produced works of literature, music, and visual art fully comparable in distinction and scope to the achievements of the Harlem Renaissance.
This highly informative and accessible work, enhanced with reproductions of paintings of the same period, examines Black Chicago's "Renaissance" through richly anecdotal profiles of such figures as Richard Wright, Gwendolyn Brooks, Margaret Walker, Charles White, Gordon Parks, Horace Cayton, Muddy Waters, Mahalia Jackson, and Katherine Dunham. Robert Bone and Richard A. Courage make a powerful case for moving Chicago's Bronzeville, long overshadowed by New York's Harlem, from a peripheral to a central position within African American and American studies.
This wide-ranging, ambitiously interdisciplinary study traces jazz's influence on African American poetry from the Harlem Renaissance to contemporary spoken word poetry. Examining established poets such as Langston Hughes, Ntozake Shange, and Nathaniel Mackey as well as a generation of up-and-coming contemporary writers and performers, Meta DuEwa Jones highlights the intersections of race, gender, and sexuality within the jazz tradition and its representation in poetry. Applying prosodic analysis to emphasize the musicality of African American poetic performance, she examines the gendered meanings evident in collaborative performances and in the criticism, images, and sounds circulating within jazz cultures.
"Conn is an enthusiastic advocate for his subject, an appealing thinker, an imaginative researcher, a scholar at ease with theory and with empirical evidence." —Ann Fabian, Reviews in American History
"Steven Conn's masterly study of late-nineteenth century American museums transports the reader to a strange and wonderful intellectual universe. . . . At the end of the day, Conn reminds us, objects still have the power to fascinate, attract, evoke, and, in the right context, explain." —Christopher Clarke-Hazlett, Journal of American History
The late-Victorian discovery of the music hall by English intellectuals marks a crucial moment in the history of popular culture. Music Hall and Modernity demonstrates how such pioneering cultural critics as Arthur Symons and Elizabeth Robins Pennell used the music hall to secure and promote their professional identity as guardians of taste and national welfare. These social arbiters were, at the same time, devotees of the spontaneous culture of “the people.”
In examining fiction from Walter Besant, Hall Caine, and Henry Nevinson, performance criticism from William Archer and Max Beerbohm, and late-Victorian controversies over philanthropy and moral reform, scholar Barry Faulk argues that discourse on music-hall entertainment helped consolidate the identity and tastes of an emergent professional class. Critics and writers legitimized and cleaned up the music hall, at the same time allowing issues of class, respect, and empowerment to be negotiated.
Music Hall and Modernity offers a complex view of the new middle-class, middlebrow mass culture of late-Victorian London and contributes to a body of scholarship on nineteenth-century urbanism. The book will also interest scholars concerned with the emergence of a professional managerial class and the genealogy of cultural studies.
Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations—of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising—have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States?
In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.
A keen observer of culture, Czech writer Vladimír Macura (1945–99) devoted a lifetime to illuminating the myths that defined his nation. The Mystifications of a Nation, the first book-length translation of Macura’s work in English, offers essays deftly analyzing a variety of cultural phenomena that originate, Macura argues, in the “big bang” of the nineteenth-century Czech National Revival, with its celebration of a uniquely Czech identity.
In reflections on two centuries of Czech history, he ponders the symbolism in daily life. Bridges, for example—once a force of civilization connecting diverse peoples—became a sign of destruction in World War I. Turning to the Soviet and post-Soviet eras, Macura probes a range of richly symbolic practices, from the naming of the Prague metro system, to the mass gymnastic displays of the Communist period, to post–Velvet Revolution preoccupations with the national anthem. In “The Potato Bug,” he muses on one of the stranger moments in the Cold War—the claim that the United States was deliberately dropping insects from airplanes to wreak havoc on the crops of Czechoslovakia.
While attending to the distinctively Czech elements of such phenomena, Macura reveals the larger patterns of Soviet-brand socialism. “We were its cocreators,” he declares, “and its analysis touches us as a scalpel turned on its own body.” Writing with erudition, irony, and wit, Macura turns the scalpel on the authoritarian state around him, demythologizing its mythology.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press