The Situationist International were a group of anti-authoritarian, highly cultured, revolutionary artists whose energy and enragement fundamentally shaped the revolutions of the late 1960’s, most famously in Paris in May ‘68. They took on their shoulders the history of the workers’ struggle, saw that it had been corrupted by authoritarianism and transformed it, with influences incorporating the avant-garde via Dada and Surrealism. They were not Marxologists, defenders of the faith. Marxism came back to life in their raging analyses, the use of the ‘spectacle’ and at the heart of the project was the idea of the constructed situation.
This book by Frances Stracey offers itself up as the ‘first historiography of constructed situations’. Within it are new insights into the movement, and with them, a sense of relevance to political situations and practice today. As an archivist, Stracey uncovered new documents which, amongst other things, revealed how the SI related to representations of sexuality; and is able to discuss whether they could be considered as feminists or not. She also looked at their famous motto ‘Never Work’ and again shows how alienated labour is even more relevant to us today.
Constructed Situations is not a history of celebrated personalities, or cultural influences, or political circumstances. It is instead an open door to one of the most influential art movements in modern history, and an invitation for us to reclaim inspiration from this ubiquitous movement.
The French Resistance has an iconic status in the struggle to liberate Nazi-occupied Europe, but its story is entangled in myths. Gaining a true understanding of the Resistance means recognizing how its image has been carefully curated through a combination of French politics and pride, ever since jubilant crowds celebrated Paris’s liberation in August 1944. Robert Gildea’s penetrating history of resistance in France during World War II sweeps aside “the French Resistance” of a thousand clichés, showing that much more was at stake than freeing a single nation from Nazi tyranny.
As Fighters in the Shadows makes clear, French resistance was part of a Europe-wide struggle against fascism, carried out by an extraordinarily diverse group: not only French men and women but Spanish Republicans, Italian anti-fascists, French and foreign Jews, British and American agents, and even German opponents of Hitler. In France, resistance skirted the edge of civil war between right and left, pitting non-communists who wanted to drive out the Germans and eliminate the Vichy regime while avoiding social revolution at all costs against communist advocates of national insurrection. In French colonial Africa and the Near East, battle was joined between de Gaulle’s Free French and forces loyal to Vichy before they combined to liberate France.
Based on a riveting reading of diaries, memoirs, letters, and interviews of contemporaries, Fighters in the Shadows gives authentic voice to the resisters themselves, revealing the diversity of their struggles for freedom in the darkest hours of occupation and collaboration.
In one concise volume, Hagen Schulze brilliantly conveys the full sweep of German history, from the days of the Romans to the fall of the Berlin Wall. A story two thousand years in the making, it rings with battle, murmurs with intrigue, and hums with the music of everyday life. This richly various legacy, often overshadowed and distorted by the nation's recent past, offers a hopeful answer to the perennial question of what kind of country Germany is and will be.
From the revolt of the indigenous tribes against Roman domination, Schulze leads us through the events that have defined a nation at the center of European culture--the Thirty Years' War and the decline of the Holy Roman Empire, Luther's Reformation and Bismarck's attendance at the birth of modern Germany, the Great War and its aftermath, the nationalistic megalomania under Hitler, the division of the nation after World War II and its reunification. Throughout, we see what these developments have meant for the German people, in the arena of private life and on the stage of world history. A lavish array of illustrations provides a lively counterpoint to Schulze's elegantly written narrative.
As it follows the threads of German language, nationalism, and culture to the present day, this dramatic account provides ample reassurance that recent history will not repeat itself. Germany: A New History will prove indispensable to our understanding of Germany, past and present, and the future of Europe.
God's War offers a sweeping new vision of one of history's most astounding events: the Crusades.
From 1096 to 1500, European Christians fought to recreate the Middle East, Muslim Spain, and the pagan Baltic in the image of their God. The Crusades are perhaps both the most familiar and most misunderstood phenomena of the medieval world, and here Christopher Tyerman seeks to recreate, from the ground up, the centuries of violence committed as an act of religious devotion.
The result is a stunning reinterpretation of the Crusades, revealed as both bloody political acts and a manifestation of a growing Christian communal identity. Tyerman uncovers a system of belief bound by aggression, paranoia, and wishful thinking, and a culture founded on war as an expression of worship, social discipline, and Christian charity.
This astonishing historical narrative is imbued with figures that have become legends--Saladin, Richard the Lionheart, Philip Augustus. But Tyerman also delves beyond these leaders to examine the thousands and thousands of Christian men--from Knights Templars to mercenaries to peasants--who, in the name of their Savior, abandoned their homes to conquer distant and alien lands, as well as the countless people who defended their soil and eventually turned these invaders back. With bold analysis, Tyerman explicates the contradictory mix of genuine piety, military ferocity, and plain greed that motivated generations of Crusaders. He also offers unique insight into the maturation of a militant Christianity that defined Europe's identity and that has forever influenced the cyclical antagonisms between the Christian and Muslim worlds.
Drawing on all of the most recent scholarship, and told with great verve and authority, God's War is the definitive account of a fascinating and horrifying story that continues to haunt our contemporary world.
The American economy has provided a level of well-being that has consistently ranked at or near the top of the international ladder. A key source of this success has been widespread participation in political and economic processes. In The Government and the American Economy, leading economic historians chronicle the significance of America’s open-access society and the roles played by government in its unrivaled success story.
America’s democratic experiment, the authors show, allowed individuals and interest groups to shape the structure and policies of government, which, in turn, have fostered economic success and innovation by emphasizing private property rights, the rule of law, and protections of individual freedom. In response to new demands for infrastructure, America’s federal structure hastened development by promoting the primacy of states, cities, and national governments. More recently, the economic reach of American government expanded dramatically as the populace accepted stronger limits on its economic freedoms in exchange for the increased security provided by regulation, an expanded welfare state, and a stronger national defense.
A EuropeNow Editor’s Pick
A Choice Outstanding Academic Title of the Year
“Pieter M. Judson’s book informs and stimulates. If his account of Habsburg achievements, especially in the 18th century, is rather starry-eyed, it is a welcome corrective to the black legend usually presented. Lucid, elegant, full of surprising and illuminating details, it can be warmly recommended to anyone with an interest in modern European history.”
—Tim Blanning, Wall Street Journal
“This is an engaging reappraisal of the empire whose legacy, a century after its collapse in 1918, still resonates across the nation-states that replaced it in central Europe. Judson rejects conventional depictions of the Habsburg empire as a hopelessly dysfunctional assemblage of squabbling nationalities and stresses its achievements in law, administration, science and the arts.”
—Tony Barber, Financial Times
“Spectacularly revisionist… Judson argues that…the empire was a force for progress and modernity… This is a bold and refreshing book… Judson does much to destroy the picture of an ossified regime and state.”
—A. W. Purdue, Times Higher Education
“Judson’s reflections on nations, states and institutions are of broader interest, not least in the current debate on the future of the European Union after Brexit.”
—Annabelle Chapman, Prospect
A multifaceted voyage into the past, Jolliet and Marquette expands and updates the oft-told story of a pivotal event in American history.
The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.
The New History and the Old is a marvelously written, perfectly serious, yet vastly entertaining critique of current fashions in the writing of history--social history, psychoanalytic history, quantitative history, Marxist and neo-Marxist history, mentalité history.
As the "new" history is coming to dominate the profession, Gertrude Himmelfarb argues, it tends to supplant rather than supplement the "old," which centered on political, constitutional, diplomatic, and intellectual events. The effect is not only to transform the discipline of history, but also to alter profoundly our sense of the past. A mode of history that belittles politics and ideas denigrates the political institutions and intellectual traditions that have shaped our past, and severs the continuity between past and present, leaving little that is usable in their place.
This provocative analysis of the "revolution in history," as it has been called, has implications that go well beyond the discipline of history itself. It raises fundamental and far-reaching questions about the nature of our postmodern society and will undoubtedly arouse a good deal of discussion and debate along broad cultural lines.
For this updated edition of her acclaimed work on historians and the writing of history, Gertrude Himmelfarb adds four insightful and provocative essays dealing with changes in the discipline over the past twenty years.
In examining the effects of postmodernism, the illusions of cosmopolitanism, A. J. P. Taylor and revisionism, and Francis Fukuyama’s “end of history,” Himmelfarb enriches her illuminating exploration of the myriad ways—new and old—in which historians make sense of the past.
Designed for the general reader, this splendid introduction to French literature from 842 A.D.—the date of the earliest surviving document in any Romance language—to the present decade is the most compact and imaginative single-volume guide available in English to the French literary tradition. In fact, no comparable work exists in either language. It is not the customary inventory of authors and titles but rather a collection of wide-angled views of historical and cultural phenomena. It sets before us writers, public figures, criminals, saints, and monarchs, as well as religious, cultural, and social revolutions. It gives us books, paintings, public monuments, even TV shows.
Written by 164 American and European specialists, the essays are introduced by date and arranged in chronological order, but here ends the book’s resemblance to the usual history of literature. Each date is followed by a headline evoking an event that indicates the chronological point of departure. Usually the event is literary—the publication of an original work, a journal, a translation, the first performance of a play, the death of an author—but some events are literary only in terms of their repercussions and resonances. Essays devoted to a genre exist alongside essays devoted to one book, institutions are presented side by side with literary movements, and large surveys appear next to detailed discussions of specific landmarks.
No article is limited to the “life and works” of a single author. Proust, for example, appears through various lenses: fleetingly, in 1701, apropos of Antoine Galland’s translation of The Thousand and One Nights; in 1898, in connection with the Dreyfus Affair; in 1905, on the occasion of the law on the separation of church and state; in 1911, in relation to Gide and their different treatments of homosexuality; and at his death in 1922.
Without attempting to cover every author, work, and cultural development since the Serments de Strasbourg in 842, this history succeeds in being both informative and critical about the more than 1,000 years it describes. The contributors offer us a chance to appreciate not only French culture but also the major critical positions in literary studies today. A New History of French Literature will be essential reading for all engaged in the study of French culture and for all who are interested in it. It is an authoritative, lively, and readable volume.
The revolutionary spirit that animates the culture of the Germans has been alive for at least twelve centuries, far longer than the dramatically fragmented and reshaped political entity known as Germany. German culture has been central to Europe, and it has contributed the transforming spirit of Lutheran religion, the technology of printing as a medium of democracy, the soulfulness of Romantic philosophy, the structure of higher education, and the tradition of liberal socialism to the essential character of modern American life.
In this book leading scholars and critics capture the spirit of this culture in some 200 original essays on events in German literary history. Rather than offering a single continuous narrative, the entries focus on a particular literary work, an event in the life of an author, a historical moment, a piece of music, a technological invention, even a theatrical or cinematic premiere. Together they give the reader a surprisingly unified sense of what it is that has allowed Meister Eckhart, Hildegard of Bingen, Luther, Kant, Goethe, Beethoven, Benjamin, Wittgenstein, Jelinek, and Sebald to provoke and enchant their readers. From the earliest magical charms and mythical sagas to the brilliance and desolation of 20th-century fiction, poetry, and film, this illuminating reference book invites readers to experience the full range of German literary culture and to investigate for themselves its disparate and unifying themes.
Contributors include: Amy M. Hollywood on medieval women mystics, Jan-Dirk Müller on Gutenberg, Marion Aptroot on the Yiddish Renaissance, Emery Snyder on the Baroque novel, J. B. Schneewind on Natural Law, Maria Tatar on the Grimm brothers, Arthur Danto on Hegel, Reinhold Brinkmann on Schubert, Anthony Grafton on Burckhardt, Stanley Corngold on Freud, Andreas Huyssen on Rilke, Greil Marcus on Dada, Eric Rentschler on Nazi cinema, Elisabeth Young-Bruehl on Hannah Arendt, Gordon A. Craig on Günter Grass, Edward Dimendberg on Holocaust memorials.
The first English-language history of Korea to appear in more than a decade, this translation offers Western readers a distillation of the latest and best scholarship on Korean history and culture from the earliest times to the student revolution of 1960. The most widely read and respected general history, A New History of Korea (Han’guksa sillon) was first published in 1961 and has undergone two major revisions and updatings.
Translated twice into Japanese and currently being translated into Chinese as well, Ki-baik Lee’s work presents a new periodization of his country’s history, based on a fresh analysis of the changing composition of the leadership elite. The book is noteworthy, too, for its full and integrated discussion of major currents in Korea’s cultural history. The translation, three years in preparation, has been done by specialists in the field.
A new and original history of the forces that shaped the twentieth and twenty-first centuries.
We thought we knew the story of the twentieth century. For many in the West, after the two world conflicts and the long cold war, the verdict was clear: democratic values had prevailed over dictatorship. But if the twentieth century meant the triumph of liberalism, as many intellectuals proclaimed, why have the era’s darker impulses—ethnic nationalism, racist violence, and populist authoritarianism—revived?
The Project-State and Its Rivals offers a radical alternative interpretation that takes us from the transforming challenges of the world wars to our own time. Instead of the traditional narrative of domestic politics and international relations, Charles S. Maier looks to the political and economic impulses that propelled societies through a century when territorial states and transnational forces both claimed power, engaging sometimes as rivals and sometimes as allies. Maier focuses on recurring institutional constellations: project-states including both democracies and dictatorships that sought not just to retain power but to transform their societies; new forms of imperial domination; global networks of finance; and the international associations, foundations, and NGOs that tried to shape public life through allegedly apolitical appeals to science and ethics.
In this account, which draws on the author’s studies over half a century, Maier invites a rethinking of the long twentieth century. His history of state entanglements with capital, the decline of public projects, and the fragility of governance explains the fraying of our own civic culture—but also allows hope for its recovery.
Whitt explores the lives of women reporters who achieved significant historical recognition, such as Ida Tarbell and Ida Wells-Barnett. Investigating the often blurry boundary between journalism and literature, she explains how this fluid distinction has actually limited how many scholars perceive the contributions of authors such as Joan Didion and Susan Orlean. Whitt also highlights the work of important novelists, including Willa Cather, Katherine Anne Porter, and Eudora Welty, to shed light on how their work as journalists informed their highly successful fiction.
This study also offers a survey of contributions women have made to the alternative presses, including the environmental press and civil rights activism. Whitt examines important figures in the early feminist press such as Caroline Churchill, editor and reporter for Denver’s Queen Bee, and Betty Wilkins of Kansas City’s Call. Finally, through newsletters, newspapers, magazines, and journals, she traces the history of the lesbian press and points out the ways in which it indicates that the alternative press is thriving.
A sweeping reassessment of our longing for the past, from the rise of “retro” to the rhetoric of Brexit and Trump.
Nostalgia has a bad reputation. Its critics dismiss it as mere sentimentality or, worse, a dangerous yearning for an imagined age of purity. And nostalgia is routinely blamed for trivializing the past and obscuring its ugly sides. In Yesterday, Tobias Becker offers a more nuanced and sympathetic view. Surveying the successive waves of nostalgia that swept the United States and Europe after the Second World War, he shows that longing for the past is more complex and sometimes more beneficial than it seems.
The current meaning of “nostalgia” is surprisingly recent: until the 1960s, it usually just meant homesickness, in keeping with the original Greek word. Linking popular culture to postwar politics in the United States, Great Britain, and Germany, Becker explains the shift in meaning. He also responds to arguments against nostalgia, showing its critics as often shortsighted in their own ways as they defend an idea of progress no less naïve than the wistfulness they denounce. All too often, nostalgia itself is criticized, as if its merit did not depend on which specific past one longs for.
Taking its title from one of the most popular songs of all time, and grounded in extensive research, Yesterday offers a rigorous and entertaining perspective on divisive issues in culture and politics. Whether we are revisiting, reviving, reliving, reenacting, or regressing, and whether these activities find expression in politics, music, fashion, or family history, nostalgia is inevitable. It is also powerful, not only serving to define the past but also orienting us toward the future we will create.
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