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.
When culture makes itself at home in motion, where does an anthropologist stand? In a follow-up to The Predicament of Culture, one of the defining books for anthropology in the last decade, James Clifford takes the proper measure: a moving picture of a world that doesn't stand still, that reveals itself en route, in the airport lounge and the parking lot as much as in the marketplace and the museum.
In this collage of essays, meditations, poems, and travel reports, Clifford takes travel and its difficult companion, translation, as openings into a complex modernity. He contemplates a world ever more connected yet not homogeneous, a global history proceeding from the fraught legacies of exploration, colonization, capitalist expansion, immigration, labor mobility, and tourism. Ranging from Highland New Guinea to northern California, from Vancouver to London, he probes current approaches to the interpretation and display of non-Western arts and cultures. Wherever people and things cross paths and where institutional forces work to discipline unruly encounters, Clifford's concern is with struggles to displace stereotypes, to recognize divergent histories, to sustain "postcolonial" and "tribal" identities in contexts of domination and globalization.
Travel, diaspora, border crossing, self-location, the making of homes away from home: these are transcultural predicaments for the late twentieth century. The map that might account for them, the history of an entangled modernity, emerges here as an unfinished series of paths and negotiations, leading in many directions while returning again and again to the struggles and arts of cultural encounter, the impossible, inescapable tasks of translation.
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.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press