This ground-breaking rhetorical analysis examines a 1987 Massachusetts law affecting infertility treatment and the cultural context that makes such a law possible
Elizabeth C. Britt uses a Massachusetts statute requiring insurance coverage for infertility as a lens through which the work of rhetoric in complex cultural processes can be better understood. Countering the commonsensical notion that mandatory insurance coverage functions primarily to relieve the problem of infertility, Britt argues instead that the coverage serves to expose its contours.
Britt finds that the mandate, operating as a technology of normalization, helps to identify the abnormal (the infertile) and to create procedures by which the abnormal can be subjected to reform. In its role in normalizing processes, the mandate is more successful when it sustains, rather than resolves, the distinction between the normal and the abnormal. This distinction is achieved in part by the rhetorical mechanism of the double bind. For the middle-class white women who are primarily served by the mandate, these double binds are created both by the desire for success, control, and order and by adherence to medical models that often frustrate these same desires. The resulting double binds help to create and sustain the tension between fertility and infertility, order and discontinuity, control and chaos, success and failure, tensions that are essential for the process of normalization to continue.
Britt uses extensive interviews with women undergoing fertility treatments to provide the foundation for her detailed analysis. While her study focuses on the example of infertility, it is also more broadly a commentary on the power of definition to frame experience, on the burdens and responsibilities of belonging to social collectives, and on the ability of rhetorical criticism to interrogate cultural formations.
The first modern biography of Cotton Mather, David Levin's narrative makes clear the development of Mather's character and experience during forty years in which he was able to identify his own personal life with the fortunes of Congregational New England. On his relationship to his eminent father, the Puritan divine and Massachusetts statesman, Increase Mather, the history and cure of his stammer, his experience as a child prodigy at Harvard, his religious conversion, his vision of an angel, his leadership in the Glorious Revolution in Massachusetts, his encounters with the Devil during the witchcraft crises in Boston and Salem—on all these matters and more, Levin's account provides new interpretations that make this permanently controversial and legendary figure accessible and comprehensible in human as well as historical terms.
It is the triumph of Levin's biography that his subject's personal and literary lives are more closely woven into the fabric of the political history of his place and time than in any previous study. Mather's character, though seen sympathetically, develops in a narrative that deliberately avoids the constraints of prosecution and defense.
Based on over six years of fieldwork, Sandra L. Faiman-Silva's The Courage to Connect traces the transformation of the Cape Cod community of Provincetown from its nineteenth-century origins as a fishing town where Portuguese immigrants settled to its present status as a welcoming, sexually diverse tourist enclave. Faiman-Silva examines the community’s history and economy as well as how gay and straight cultures intersect in areas such as public education, local government, and law enforcement. Using queer and critical culture theory to deconstruct day-to-day local encounters, Faiman-Silva describes the causes of social conflicts and how these conflicts can be resolved. Capturing the pathos and joy of a community that has struggled to accommodate radical social changes, The Courage to Connect yields understanding of the ways in which communities can construct themselves to overcome differences.
The United States is a nation of joiners. Ever since Alexis de Tocqueville published his observations in Democracy in America, Americans have recognized the distinctiveness of their voluntary tradition. In a work of political, legal, social, and intellectual history, focusing on the grassroots actions of ordinary people, Neem traces the origins of this venerable tradition to the vexed beginnings of American democracy in Massachusetts.
Neem explores the multiple conflicts that produced a vibrant pluralistic civil society following the American Revolution. The result was an astounding release of civic energy as ordinary people, long denied a voice in public debates, organized to advocate temperance, to protect the Sabbath, and to abolish slavery; elite Americans formed private institutions to promote education and their stewardship of culture and knowledge. But skeptics remained. Followers of Jefferson and Jackson worried that the new civil society would allow the organized few to trump the will of the unorganized majority. When Tocqueville returned to France, the relationship between American democracy and its new civil society was far from settled.
The story Neem tells is more pertinent than ever—for Americans concerned about their own civil society, and for those seeking to build civil societies in emerging democracies around the world.
Dana Seitler’s introduction provides historical context, revealing The Crux as an allegory for social and political anxieties—including the rampant insecurities over contagion and disease—in the United States at the beginning of the twentieth century. Seitler highlights the importance of The Crux to understandings of Gilman’s body of work specifically and early feminism more generally. She shows how the novel complicates critical history by illustrating the biological argument undergirding Gilman’s feminism. Indeed, The Crux demonstrates how popular conceptions of eugenic science were attractive to feminist authors and intellectuals because they suggested that ideologies of national progress and U.S. expansionism depended as much on women and motherhood as on masculine contest.
Around the time Louis Jacques Mandé Daguerre perfected his method for fixing images on polished metal plates in 1839, Harvard was emerging as a modern research institution. Accordingly, the college began amassing vast collections for teaching and research. Among these collections in the university's libraries, museums, archives, and academic departments are some of the earliest photographic documents of American life: daguerreotypes.
A Curious and Ingenious Art brings together a representative sampling of Harvard's internationally significant but relatively unknown collection of daguerreotypes. Many of these images were made for, by, and of members of the university's community and have been in its holdings for more than 150 years. The collection includes the work of some of America's pioneering daguerreotypists, such as Mathew Brady, Southworth and Hawes, and John Adams Whipple. Most notably, the Harvard collection preserved for posterity such faces of the era as Oliver Wendell Holmes, Ralph Waldo Emerson, Harriet Beecher Stowe, Henry James, James McNeill Whistler, Dorothea Dix, Jenny Lind, and even Tom Thumb.
The university also seized upon photography as a tool of scientific research, stunningly exemplified in one of the first detailed daguerreotypes of the moon taken in 1851 as well as in images capturing the emergence of modern anesthesia. An unfortunate misuse of photography is recalled in the now famous slave daguerreotypes commissioned by natural historian Louis Agassiz, who believed in the theory of separate human species.
The Harvard collection represents the early history of photography and its social meaning. The accompanying essays explore the personal, telling histories behind the images, stories that unveil the reflections of individuals who searched for purpose and promise in the new medium.
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