The various protest movements that together constituted the Chicano Movement of the 1960s and 1970s urged a "politics of inclusion" to bring Mexican Americans into the mainstream of United States political and social life. This volume of ten specially commissioned essays assesses the post-movement years, asking "what went wrong? what went right? and where are we now?" Collectively, the essays offer a wide-ranging portrayal of the complex situation of Mexican Americans as the twenty-first century begins.
The essays are grouped into community, institutional, and general studies, with an introduction by editor Montejano. Geographically, they point to the importance of "Hispanic" politics in the Southwest, as well as in Chicago wards and in the U.S. Congress, with ramifications in Mexico and Central America. Thematically, they discuss "non-traditional" politics stemming from gender identity, environmental issues, theatre production, labor organizing, university policymaking, along with the more traditional politics revolving around state and city government, the Congressional Hispanic Caucus, and various advocacy organizations.
The United States has always fancied itself a nation apart—"exceptional" in its values, traditions, and way of life. For most of the country's history, ideas about what made America distinctive generally were framed in terms of a liberal idealism rooted in the thought of John Locke and articulated by Jefferson, Madison, and other Founders. While some commentators also observed that the United States was a land of plenty, it wasn't until the mid-twentieth century that material abundance emerged as the principal standard of American “greatness,” as measured by a host of new economic indicators.
Beginning in earnest in the wake of World War II, opinion-shapers in politics, business, academia, the media, the schools, and public diplomacy gloried in the nation's booming economy. Where “plenty” had once been a largely abstract concept, it was now quantifiable, thanks to new national income accounting and other economic data collection and analysis techniques. One could tally up production and consumption of an ever-expanding cornucopia of goods and services that made up the gross national product (GNP), the king of postwar statistics. American preeminence and American identity were increasingly linked with this measurable prosperity, presented in the language of a newly influential economics profession.
In Measuring America, Andrew L. Yarrow explores this history, telling two parallel, interlocking stories—of how economic ideas came to have vastly greater influence on American culture after World War II, and how those ideas dovetailed with a growing belief that the meaning and value of the United States resided in its material output. How and why this new way of “measuring America” developed, how it was expressed, and what it has meant and means for Americans today are the subject of this well-researched and insightful book.
In almost every area of production, German theatre of the past forty years has achieved a level of distinction unique in the international community. This flourishing theatrical culture has encouraged a large number of outstanding actors, directors, and designers as well as video and film artists. The dominant figure throughout these years, however, has remained the director. In this stimulating and informative book, noted theatre historian Marvin Carlson presents an in-depth study of the artistic careers, working methods, and most important productions of ten of the leading directors of this great period of German staging.
Beginning with the leaders of the new generation that emerged in the turbulent late 1960s—Peter Stein, Peter Zadek, and Claus Peymann, all still major figures today—Carlson continues with the generation that appeared in the 1980s, particularly after reunification—Frank Castorf, Anna Viebrock, Andrea Breth, and Christoph Marthaler—and concludes with the leading directors to emerge after the turn of the century, Stefan Pucher, Thomas Ostermeier, and Michael Thalheimer. He also provides information not readily available elsewhere in English on many of the leading actors and dramatists as well as the designers whose work, much of it for productions of these directors, has made this last half century a golden age of German scenic design.
During the late twentieth century, no country produced so many major theatre directors or placed them so high in national cultural esteem as Germany. Drawing on his years of regular visits to the Theatertreffen in Berlin and other German productions, Carlson will captivate students of theatre and modern German history and culture with his provocative, well-illustrated study of the most productive and innovative theatre tradition in Europe.
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