A SCHOLARLY BOOK REPOSITORY35 start with S start with S
With new research on building programs in political, religious, and domestic settings in the United States and Europe, this collection of essays offers a fresh look at postwar modernism and the role that architecture played in constructing modern identities.
In the decades following World War II, modern architecture spread around the globe alongside increased modernization, urbanization, and postwar reconstruction—and it eventually won widespread acceptance. But as the limitations of conventional conceptions of modernism became apparent, modern architecture has come under increasing criticism. In this collection of essays, experienced and emerging scholars take a fresh look at postwar modern architecture by asking what it meant to be “modern,” what role modern architecture played in constructing modern identities, and who sanctioned (or was sanctioned by) modernism in architecture.
This volume presents focused case studies of modern architecture in three realms—political, religious, and domestic—that address our very essence as human beings. Several essays explore developments in Czechoslovakia, Romania, and Yugoslavia and document a modernist design culture that crossed political barriers, such as the Iron Curtain, more readily than previously imagined. Other essays investigate various efforts to reconcile the concerns of modernist architects with the traditions of the Roman Catholic Church and other Christian institutions. And a final group of essays looks at postwar homebuilding in the United States and demonstrates how malleable and contested the image of the American home was in the mid-twentieth century. These inquiries show the limits of canonical views of modern architecture and reveal instead how civic institutions, ecclesiastical traditions, individual consumers, and others sought to sanction the forms and ideas of modern architecture in the service of their respective claims or desires to be modern.
Hesketh challenges accepted notions of a single scientific approach to history. Instead, he draws on a variety of sources—monographs, lectures, correspondence—from eminent Victorian historians to uncover numerous competing discourses.
We think of the Hebrew Bible as the Book--and yet it was produced by a largely nonliterate culture in which writing, editing, copying, interpretation, and public reading were the work of a professional elite. The scribes of ancient Israel are indeed the main figures behind the Hebrew Bible, and in this book Karel van der Toorn tells their story for the first time. His book considers the Bible in very specific historical terms, as the output of the scribal workshop of the Second Temple active in the period 500-200 BCE. Drawing comparisons with the scribal practices of ancient Egypt and Mesopotamia, van der Toorn clearly details the methods, the assumptions, and the material means of production that gave rise to biblical texts; then he brings his observations to bear on two important texts, Deuteronomy and Jeremiah.
Traditionally seen as the copycats of antiquity, the scribes emerge here as the literate elite who held the key to the production as well as the transmission of texts. Van der Toorn's account of scribal culture opens a new perspective on the origins of the Hebrew Bible, revealing how the individual books of the Bible and the authors associated with them were products of the social and intellectual world of the scribes. By taking us inside that world, this book yields a new and arresting appreciation of the Hebrew Scriptures.
In Seeing Like a Citizen, Kara Moskowitz approaches Kenya’s late colonial and early postcolonial eras as a single period of political, economic, and social transition. In focusing on rural Kenyans—the vast majority of the populace and the main targets of development interventions—as they actively sought access to aid, she offers new insights into the texture of political life in decolonizing Kenya and the early postcolonial world.
Using multisited archival sources and oral histories focused on the western Rift Valley, Seeing Like a Citizen makes three fundamental contributions to our understanding of African and Kenyan history. First, it challenges the widely accepted idea of the gatekeeper state, revealing that state control remained limited and that the postcolonial state was an internally varied and often dissonant institution. Second, it transforms our understanding of postcolonial citizenship, showing that its balance of rights and duties was neither claimed nor imposed, but negotiated and differentiated. Third, it reorients Kenyan historiography away from central Kenya and elite postcolonial politics. The result is a powerful investigation of experiences of independence, of the meaning and form of development, and of how global political practices were composed and recomposed on the ground in local settings.
How science fiction films in the 1950s were marketed and helped create the broader genre itself.
For Hollywood, the golden age of science fiction was also an age of anxiety. Amid rising competition, fluid audience habits, and increasing government regulation, studios of the 1950s struggled to make and sell the kinds of films that once were surefire winners. These conditions, the leading media scholar J. P. Telotte argues, catalyzed the incredible rise of science fiction.
Though science fiction films had existed since the earliest days of cinema, the SF genre as a whole continued to resist easy definition through the 1950s. In grappling with this developing genre, the industry began to consider new marketing approaches that viewed films as fluid texts and audiences as ever-changing. Drawing on trade reports, film reviews, pressbooks, trailers, and other archival materials, Selling Science Fiction Cinema reconstructs studio efforts to market a promising new genre and, in the process, shows how salesmanship influenced what that genre would become. Telotte uses such films as The Thing from Another World, Forbidden Planet, and The Blob, as well as the influx of Japanese monster movies, to explore the shifting ways in which the industry reframed the SF genre to market to no-longer static audience expectations. Science fiction transformed the way Hollywood does business, just as Hollywood transformed the meaning of science fiction.
Sanborn focuses on the representations of cannibalism in three of Melville’s key texts—Typee, Moby-Dick, and “Benito Cereno.” Drawing on accounts of Pacific voyages from two centuries and virtually the entire corpus of the post-Enlightenment discourse on cannibalism, he shows how Melville used his narratives to work through the ways in which cannibalism had been understood. In so doing, argues Sanborn, Melville sought to move his readers through stages of possible responses to the phenomenon in order to lead them to consider alternatives to established assumptions and conventions—to understand that in the savage they see primarily their own fear and fascination. Melville thus becomes a narrator of the postcolonial encounter as he uncovers the dynamic of dread and menace that marks the Western construction of the “non-savage” human.
Extending the work of Slavoj Zizek and Homi Bhabha while providing significant new insights into the work of Melville, The Sign of the Cannibal represents a breakthrough for students and scholars of postcolonial theory, American literary history, critical anthropology, race, and masculinity.
At an ecopark in Mexico, tourists pretend to be illegal migrants, braving inhospitable terrain and the U.S. Border Patrol as they attempt to cross the border. At a living history museum in Indiana, daytime visitors return after dark to play fugitive slaves on the Underground Railroad. In the Mojave Desert, the U.S. Army simulates entire provinces of Iraq and Afghanistan, complete with bustling villages, insurgents, and Arabic-speaking townspeople, to train soldiers for deployment to the Middle East. At a nursing home, trainees put on fogged glasses and earplugs, thick bands around their finger joints, and sandbag harnesses to simulate the effects of aging and to gain empathy for their patients.
These immersive environments in which spectator-participants engage in simulations of various kinds—or “simming”—are the subject of Scott Magelssen’s book. His book lays out the ways in which simming can provide efficacy and promote social change through affective, embodied testimony. Using methodology from theater history and performance studies (particularly as these fields intersect with cultural studies, communication, history, popular culture, and American studies), Magelssen explores the ways these representational practices produce, reify, or contest cultural and societal perceptions of identity.
Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.
Sing and Sing On is the first study of the forced migration of musicians out of the Horn of Africa dating from the 1974 Ethiopian revolution, a political event that overthrew one of the world’s oldest monarchies and installed a brutal military regime. Musicians were among the first to depart the region, their lives shattered by revolutionary violence, curfews, and civil war. Reconstructing the memories of forced migration, Sing and Sing On traces the challenges musicians faced amidst revolutionary violence and the critical role they played in building communities abroad.
Drawing on the recollections of dozens of musicians, Sing and Sing On details personal, cultural, and economic hardships experienced by musicians who have resettled in new locales abroad. Kay Kaufman Shelemay highlights their many artistic and social initiatives and the ways they have offered inspiration and leadership within and beyond a rapidly growing Ethiopian American diaspora. While musicians held this role as sentinels in Ethiopian culture long before the revolution began, it has taken on new meanings and contours in the Ethiopian diaspora. The book details the ongoing creativity of these musicians while exploring the attraction of return to their Ethiopian homeland over the course of decades abroad. Ultimately, Shelemay shows that musicians are uniquely positioned to serve this sentinel role as both guardians and challengers of cultural heritage.
In addition to revising our view of the interwar period and the building of European democracies, this book cuts against the grain of most current theorizing in political science by explicitly discussing when and how ideas influence political behavior. Even though German and Swedish Social Democrats belonged to the same transnational political movement and faced similar political and social conditions in their respective countries before and after World War I, they responded very differently to the challenges of democratization and the Great Depression--with crucial consequences for the fates of their countries and the world at large.
Explaining why these two social democratic parties acted so differently is the primary task of this book. Berman's answer is that they had very different ideas about politics and economics--what she calls their programmatic beliefs. The Swedish Social Democrats placed themselves at the forefront of the drive for democratization; a decade later they responded to the Depression with a bold new economic program and used it to build a long period of political hegemony. The German Social Democrats, on the other hand, had democracy thrust upon them and then dithered when faced with economic crisis; their haplessness cleared the way for a bolder and more skillful political actor--Adolf Hitler.
This provocative book will be of interest to anyone concerned with twentieth-century European history, the transition to democracy problem, or the role of ideas in politics.
The 1990s were tough times for the soda industry. In the United States, obesity rates were exploding. Public health critics pointed to sugary soda as a main culprit and advocated for soda taxes that might decrease the consumption of sweetened beverages—and threaten the revenues of the giant soda companies.
Soda Science tells the story of how industry leader Coca-Cola mobilized allies in academia to create a soda-defense science that would protect profits by advocating exercise, not dietary restraint, as the priority solution to obesity, a view few experts accept. Anthropologist and science studies specialist Susan Greenhalgh discovers a hidden world of science-making—with distinctive organizations, social networks, knowledge-making practices, and ethical claims—dedicated to creating industry-friendly science and keeping it under wraps. By tracing the birth, maturation, death, and afterlife of the science they made, Greenhalgh shows how corporate science has managed to gain such a hold over our lives.
Spanning twenty years, her investigation takes her from the US, where the science was made, to China, a key market for sugary soda. In the US, soda science was a critical force in the making of today’s society of step-counting, fitness-tracking, weight-obsessed citizens. In China, this distorted science has left its mark not just on national obesity policies but on the apparatus for managing chronic disease generally. By following the scientists and their ambitious schemes to make the world safe for Coke, Greenhalgh offers an account that is more global—and yet more human—than the story that dominates public understanding today.
Coke’s research isn’t fake science, Greenhalgh argues; it was real science, conducted by real and eminent scientists, but distorted by its aim. Her gripping book raises crucial questions about conflicts of interest in scientific research, the funding behind familiar messages about health, and the cunning ways giant corporations come to shape our diets, lifestyles, and health to their own needs.
Young analyzes a range of U.S. figures and organizations, examining how each deployed Third World discourse toward various cultural and political ends. She considers a trip that LeRoi Jones, Harold Cruse, and Robert F. Williams made to Cuba in 1960; traces key intellectual influences on Angela Y. Davis’s writing; and reveals the early history of the hospital workers’ 1199 union as a model of U.S. Third World activism. She investigates Newsreel, a late 1960s activist documentary film movement, and its successor, Third World Newsreel, which produced a seminal 1972 film on the Attica prison rebellion. She also considers the L.A. Rebellion, a group of African and African American artists who made films about conditions in the Watts neighborhood of Los Angeles. By demonstrating the breadth, vitality, and legacy of the work of U.S. Third World Leftists, Soul Power firmly establishes their crucial place in the history of twentieth-century American struggles for social change.
Using thorough and stark statistics, Kennedy describes a South emerging from World War II, coming to grips with the racism and feudalism that had held it back for generations. He includes an all-out Who’s Who, based on his own undercover investigations, of the "hate-mongers, race-racketeers, and terrorists who swore that apartheid must go on forever." The first paperback edition brings to a new generation of readers Kennedy’s searing profile of Dixie before the civil rights movement.
From the start, the Soviet human space program had an identity crisis. Were cosmonauts heroic pilots steering their craft through the dangers of space, or were they mere passengers riding safely aboard fully automated machines? Tensions between Soviet cosmonauts and space engineers were reflected not only in the internal development of the space program but also in Soviet propaganda that wavered between praising daring heroes and flawless technologies. Soviet Space Mythologies explores the history of the Soviet human space program within a political and cultural context, giving particular attention to the two professional groups—space engineers and cosmonauts—who secretly built and publicly represented the program. Drawing on recent scholarship on memory and identity formation, this book shows how both the myths of Soviet official history and privately circulating counter-myths have served as instruments of collective memory and professional identity. These practices shaped the evolving cultural image of the space age in popular Soviet imagination. Soviet Space Mythologies provides a valuable resource for scholars and students of space history, history of technology, and Soviet (and post-Soviet) history.
The 1909 opening of the Indianapolis Motor Speedway marked a foundational moment in the history of automotive racing. Events at the famed track and others like it also helped launch America’s love affair with cars and an embrace of road systems that transformed cities and shrank perceptions of space.
Brian Ingrassia tells the story of the legendary oval’s early decades. This story revolves around Speedway cofounder and visionary businessman Carl Graham Fisher, whose leadership in the building of the transcontinental Lincoln Highway and the iconic Dixie Highway had an enormous impact on American mobility. Ingrassia looks at the Speedway’s history as a testing ground for cars and airplanes, its multiple close brushes with demolition, and the process by which racing became an essential part of the Golden Age of Sports. At the same time, he explores how the track’s past reveals the potent links between sports capitalism and the selling of nostalgia, tradition, and racing legends.
Under constant surveillance and policed by increasingly militarized means, Arizona's border is portrayed in the media as a site of sharp political and ethnic divisions. But this view obscures the region's deeper history. Bringing to light the shared cultural and commercial ties through which businessmen and politicians forged a transnational Sunbelt, Standing on Common Ground recovers the vibrant connections between Tucson, Arizona, and the neighboring Mexican state of Sonora. Geraldo L. Cadava corrects misunderstandings of the borderland's past and calls attention to the many types of exchange, beyond labor migrations, that demonstrate how the United States and Mexico continue to shape one another.
In the 1940s, a flourishing cross-border traffic developed in the Arizona-Sonora Sunbelt, as the migrations of entrepreneurs, tourists, shoppers, and students maintained a densely connected transnational corridor. Politicians on both sides worked to cultivate a common ground of free enterprise, spurring the growth of manufacturing, ranching, and agriculture. However, as Cadava illustrates, these modernizing forces created conditions that marginalized the very workers who propped up the regional economy, and would eventually lead to the social and economic instability that has troubled the Arizona-Sonora borderland in recent times.
Grounded in rich archival materials and oral histories, Standing on Common Ground clarifies why we cannot understand today's fierce debates over illegal immigration and border enforcement without identifying the roots of these problems in the Sunbelt's complex pan-ethnic and transnational history.
This book explores the colorful past, present, and future of an instrument that is, quite literally, close to our hearts. The stethoscope has become the symbol of medicine itself—how did this come to be? What makes the stethoscope such a familiar yet charismatic object? Drawing from a range of fields including history, anthropology, science, technology, and sound studies, the book illustrates the variety of roles the stethoscope has played over time. It shows that the stethoscope is not, and has never been, a single entity. It is used to a variety of ends, serves several purposes, and is open to many interpretations. This variability is the key to the stethoscope’s enduring presence in the medical and popular imagination.
Micah L. Auerback follows the changing fortune of the Buddha through the novel uses for the Buddha’s story in high and low culture alike, often outside of the confines of the Buddhist establishment. Auerback argues for the Buddha’s continuing relevance during Japan’s early modern period and links the later Buddhist tradition in Japan to its roots on the Asian continent. Additionally, he examines the afterlife of the Buddha in hagiographic literature, demonstrating that the late Japanese Buddha, far from fading into a ghost of his former self, instead underwent an important reincarnation. Challenging many established assumptions about Buddhism and its evolution in Japan, A Storied Sage is a vital contribution to the larger discussion of religion and secularization in modernity.
Karen Chace’s book, Story by Story, Building a Storytelling Troupe is a must have for anyone even slightly interested in starting a storytelling group with students. I know I am guilty of sometimes skipping over sections, but every word that Karen writes is important and useful distilled (and therefore potent) information. Ms. Chace not only tells you what to do to run a successful troupe, but also WHY you need to do it. This is, to me, very important. Sometimes one is tempted to skip things, but this book explains how important the steps are. Everything from how many hours Karen thought it would take, to ACTUAL hours, where the funding comes from, how and why to lay foundations and expectations (including ‘no teasing policies’ and group dynamics), right the way through presentation skills to advertising the event and getting bums on seats (emphasis important)!
Over the years Karen has and continues to come up with new and inventive ways of teaching the skills of storytelling, and a great many of these exercises and activities are included in the book. When it comes to research and materials as well as technique, Karen adds new meaning to "thorough". There are links to websites for stories, for grants, for microphone techniques, and how storytelling connects to the school curriculum and more. And if you prefer to read books, there is an extensive bibliography, too.
Basically, I believe if you want to succeed in building a storytelling troupe or group, all you need is Karen Chace’s book, Story by Story, Building a Storytelling Troupe and to do everything Karen suggests. I am sure it would be very hard to fail if you follow her words of wisdom between the covers of her goldmine of a book.
Simon Brooks, storyteller, and educator
For centuries, poets have turned to translation for creative inspiration. Through and in translation, poets have introduced new poetic styles, languages, and forms into their own writing, sometimes changing the course of literary history in the process. Strange Cocktail is the first comprehensive study of this phenomenon in modern Hebrew literature of the late nineteenth century to the present day. Its chapters on Esther Raab, Leah Goldberg, Avot Yeshurun, and Harold Schimmel offer close readings that examine the distinct poetics of translation that emerge from reciprocal practices of writing and translating. Working in a minor literary vernacular, the translation strategies that these poets employed allowed them to create and participate in transnational and multilingual poetic networks. Strange Cocktail thereby advances a comparative and multilingual reframing of modern Hebrew literature that considers how canons change and are undone when translation occupies a central position—how lines of influence and affiliation are redrawn and literary historiographies are revised when the work of translation occupies the same status as an original text, when translating and writing go hand in hand.
Kinohi Nishikawa contends that black pulp fiction was built on white readers’ fears of the feminization of society—and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers—a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fiction’s origins that cannot be ignored.
Essayists argue for Appalachian Studies' integration with kindred fields like African American studies, women's studies, and Southern studies, and they urge those involved in the field to globalize the perspective of Appalachian Studies; to commit to continued applied, participatory action, and community-based research; to embrace more fully the field's capacity for bringing about social justice; to advocate for a more accurate understanding of Appalachia and its people; and to understand and overcome the obstacles interdisciplinary studies face in the social and institutional construction of knowledge.
Contributors: Chris Baker, Chad Berry, Donald Edward Davis, Amanda Fickey, Chris Green, Erica Abrams Locklear, Phillip J. Obermiller, Douglas Reichert Powell, Michael Samers, Shaunna L. Scott, and Barbara Ellen Smith.
The Sublime South: Andalusia, Orientalism, and the Making of Modern Spain is the first systematic study on cultural images of Andalusia as Spain’s “Orient” and the impact they have had on nation-building and modernization since the late nineteenth century. While a wealth of studies have examined how northern Europeans from the Romantic period viewed Spain and Andalusia as Europe’s Orient, little attention has been paid to how contemporary Spanish artists and intellectuals assimilated Romantic legacies to engage in an internal form of orientalism.
José Luis Venegas deftly explores Spain’s shifting engagements with oriental identity and otherness by looking, not just beyond national, ethnic, and racial borders, but at a territory that is institutionally embedded in the nation-state while symbolically placed between inclusion and abjection. The Sublime South shifts the focus and scale of Edward Said’s notion of orientalism by examining how it evolves and manifests transnationally, as the result of European colonialism in Africa and Asia, and intra-nationally, in a European yet orientalized country. Finally, Venegas challenges ethnocentric notions of Iberian cultures and fosters an understanding of the encounters between Western and Muslim cultures beyond opposing, and often mutually negating, essentialisms.
A Sweet View explores how writers and artists in the nineteenth century shaped the English countryside as a partly imaginary idyll, with its distinctive repertoire of idealized scenery: the village green, the old country churchyard, hedgerows and cottages, scenic variety concentrated into a small compass, snugness and comfort. The book draws on a very wide range of contemporary sources and features some of the key makers of the “South Country” rural idyll, including Samuel Palmer, Myles Birket Foster, and Richard Jefferies. The legacy of the idyll still influences popular perceptions of the essential character of a certain kind of English landscape—indeed for Henry James that imagery constituted “the very essence of England” itself. As A Sweet View makes clear, the countryside idyll forged over a century ago is still with us today.
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