A SCHOLARLY BOOK REPOSITORY25 start with O start with O
The cultural and intellectual history of the Silver State is examined through the creation of its libraries. In Oases of Culture, veteran Nevada historian James W. Hulse recounts the tortuous and often colorful history of Nevada’s libraries and the work of the dedicated librarians, educators, civic leaders, women’s organizations, philanthropists, and politicians who struggled to make the democratic vision of free libraries available to all Nevadans. From the establishment of the State Library in 1865, only one year after statehood, through the creation of tax-supported public libraries after passage of a library law in 1895, to the development of today’s modern university and community college libraries and the public-library information services that serve Nevada’s booming and increasingly diverse population, Hulse recounts the trials and triumphs of Nevada’s libraries. He also examines the role of Nevada librarians in fostering literacy and confronting the First Amendment controversies that have periodically shaken the nation’s cultural foundations.
This book demonstrates the importance of the study of fetishes and fetishism in the study of popular culture. Some of the essays cover rather "conventional" manifestations in the world today; others demonstrate the fetishistic qualities of some unusual items. But all illustrate without any doubt that, like the icon, the ritual, and many other items in society, fetishes, fetishism and fetishists must be studied and understood before we can begin to understand the complexity of present-day society.
Over the course of the nineteenth century in both Europe and the United States, the state usurped the traditional authority of the church in regulating sexual expression and behavior. In the same century philosophers of classical liberalism identified that state function as a threat to individual liberty. Since then, liberalism has provided the framework for debates over obscenity around the globe.
Chet shows how the traditional focus on the growth of the modern state overlooked the extent to which old attitudes and cultural practices continued to hold sway. Even as the British government extended its naval, legal, and bureaucratic reach, in many parts of the Atlantic world illegal trade was not only tolerated but encouraged. In part this was because Britain's constabulary command of the region remained more tenuous than some have suggested, and in part because maritime insurance and wartime tax policies ensured that piracy and smuggling remained profitable. When Atlantic piracy eventually waned in the early nineteenth century, it had more to do with a reduction in its profitability at port than with forceful confrontation at sea.
Challenging traditional accounts that chronicle forces of civilization taming a wild Atlantic frontier, this book is a valuable addition to a body of borderlands scholarship reevaluating the relationship between the emerging modern state and its imperial frontiers.
Van Gogh’s Starry Night made out of spaghetti? Cat with a Pearl Earring? Frida Kahlo self-portraits with pets and toilet paper? While the world reeled from the rapid spread of the novel coronavirus (COVID-19), thousands of people around the globe, inspired by challenges from Getty and other museums, raided toy chests, repurposed pantry items, and enlisted family, roommates, and animals to re-create famous works of art at home. Astonishing in their creativity, wit, and ingenuity, these creations remind us of the power of art to unite us and bring joy during troubled times. Off the Walls: Inspired Re-Creations of Iconic Artworks celebrates these imaginative re-creations, bringing highlights from this challenge together in one whimsical, irresistible volume. Getty Publications will donate all profits from the sale of this book to a charity supporting art and artists.
Elko County, in the old heart of Nevada, is rich in historic sites, many of them hitherto uncharted and some verging on disappearing. For the first time, historian Shawn Hall identifies and locates the ghost towns and old mining camps of Elko County and recounts their colorful histories. Following a guidebook format, Hall divides the county into five easily accessible regions, then lists the historic sites within each region and provides directions to reach them. He offers a brief history of each site as well as a description of its extant structures and their present condition. The result is a lively compilation of local history and mining and ranching lore that records the dramatic past of Nevada’s northeast corner, its pioneers and prospectors, its towns and mines, its outlaws, ranchers, merchants, mining concerns, and civic leaders. The book offers never-before available information about the old heart of Nevada and the people who settled there. It will be of enduring value to tourists and weekend explorers, historic preservationists, and all those interested in the history and artifacts of this region.
What do we mean when we say that we are bored? Contributors to this volume, which include artists, art historians, psychoanalysts, and a novelist, examine boredom in its manifold and uncertain reality. Each part of the book takes up a crucial moment in the history of boredom and presents it in a new light, taking the reader from the trials of the consulting room to the experience of hysteria in the nineteenth century. The book pays particular attention to boredom’s relationship with the sudden and rapid advances in technology that have occurred in recent decades, specifically technologies of communication, surveillance, and automation. On Boredom is idiosyncratic for its combination of image and text, and the artworks included in its pages—featuring Mathew Hale, Martin Creed, and Susan Morris—help turn this volume into a material expression of boredom itself. It will appeal to readers in the fields of art history, literature, cultural studies, and visual culture.
Nicole R. Fleetwood’s answers to these questions will change the way you think about the next photograph that you see depicting a racial event, black celebrity, or public figure. In On Racial Icons, Fleetwood focuses a sustained look on photography in documenting black public life, exploring the ways in which iconic images function as celebrations of national and racial progress at times or as a gauge of collective racial wounds in moments of crisis.
Offering an overview of photography’s ability to capture shifting race relations, Fleetwood spotlights in each chapter a different set of iconic images in key sectors of public life. She considers flash points of racialized violence in photographs of Trayvon Martin and Emmett Till; the political, aesthetic, and cultural shifts marked by the rise of pop stars such as Diana Ross; and the power and precarity of such black sports icons as Serena Williams and LeBron James; and she does not miss Barack Obama and his family along the way. On Racial Icons is an eye-opener in every sense of the phrase.
From the creation of the universe, through mythological heroes and gods, to folklore, ancient philosophy, revolutionary manifestos, discarded scientific theories, and gothic monsters, the sweep and scale of the superhero’s origin story is truly epic. We will travel from Jane Austen’s Bath to Edgar Rice Burroughs’s Mars to Owen Wister’s Wyoming, with some surprising stops along the way. We’ll meet mad scientists, Napoleonic dictators, costumed murderers, diabolical madmen, blackmailers, pirates, Wild West outlaws, eugenicists, the KKK, Victorian do-gooders, detectives, aliens, vampires, and pulp vigilantes (to name just a few). Chris Gavaler is your tour guide through this fascinating, sometimes dark, often funny, but always surprising prehistory of the most popular figure in pop culture today. In a way, superheroes have always been with us: they are a fossil record of our greatest aspirations and our worst fears and failings.
Bringing together interviews from an impressive roster of over fifty music writers, Mike Hilleary offers up an engaging and wide-reaching examination of the past and potential future of music journalism. This accessible oral history contains professional insights into journalists' craft and purpose, practical advice, and essential life lessons from a diverse cast of music writers—ranging from long-respected veterans of the field such as Rob Sheffield, Jessica Hopper, Ann Powers, and Chuck Klosterman to must-read modern voices including Amanda Petrusich, Hanif Abdurraqib, Lindsay Zoladz, and Jayson Greene. Honest and absorbing, On the Record will educate and enlighten anyone who wants to write about music, or anyone who wants a better understanding about those who do.
Written for an audience of people working on the front lines of the opioid crisis, the book is essential reading for social workers, addiction counselors, halfway house managers, and people with opioid use disorder. It will also appeal to the community of scholars interested in understanding how aesthetics shape our engagement with critical social issues, particularly in the fields of literary and film criticism, museum studies, and ethnomusicology.
A scholar and activist tells the story of change makers operating within the Chinese Communist system, whose ideas of social action necessarily differ from those dominant in Western, liberal societies.
The Chinese government has increased digital censorship under Xi Jinping. Why? Because online activism works; it is perceived as a threat in halls of power. In The Other Digital China, Jing Wang, a scholar at MIT and an activist in China, shatters the view that citizens of nonliberal societies are either brainwashed or complicit, either imprisoned for speaking out or paralyzed by fear. Instead, Wang shows the impact of a less confrontational kind of activism. Whereas Westerners tend to equate action with open criticism and street revolutions, Chinese activists are building an invisible and quiet coalition to bring incremental progress to their society.
Many Chinese change makers practice nonconfrontational activism. They prefer to walk around obstacles rather than break through them, tactfully navigating between what is lawful and what is illegitimate. The Other Digital China describes this massive gray zone where NGOs, digital entrepreneurs, university students, IT companies like Tencent and Sina, and tech communities operate. They study the policy winds in Beijing, devising ways to press their case without antagonizing a regime where taboo terms fluctuate at different moments. What emerges is an ever-expanding networked activism on a grand scale. Under extreme ideological constraints, the majority of Chinese activists opt for neither revolution nor inertia. They share a mentality common in China: rules are meant to be bent, if not resisted.
Yet, Lane notes, prior research has focused almost exclusively on the tattoos—the outcome of an intricate social process—and have ignored the significance of tattoo workers themselves. "Tattooists," as Lane dubs them, make decisions, but they work within a social world that constrains and shapes the outcome of their labor—the tattoo. The goal of this book is to help readers understand the world of tattoo work as an intricate and nuanced form of work. Lane ultimately asks new questions about the social processes occurring prior to the tattoo’s existence.
In late 2019, as a deadly pandemic began to take hold, China’s Wuhan province was the first to feel the effects. As the virus spread, the streets and squares of the world emptied, and the structures of our social world were redefined.
In response to the pandemic, Jiang Jiehong convened in-conversation talks with twelve figures—such as Chen Danqing, Pi Li, Xiang Biao, and Zhang Peili, among others—from different disciplines in the Chinese-speaking world, including anthropology, architecture, art, curation, fashion, film, literature, media, museum, music, and photography. Presented here, the conversations foster new understandings of the ongoing crisis. The discussions explore the threat of the invisible; notions of distance and spatialization, separation and isolation, communication and mobility, discipline and surveillance, and community and collectiveness; and China’s changing relationship with the rest of the world. These illuminating reflections on the global crisis allow us to re-examine past norms and begin to form visions of a post-Covid world.
An essential account of America’s most controversial alliance that reveals how the United States came to see Israel as an extension of itself, and how that strong and divisive partnership plays out in our own time.
Our American Israel tells the story of how a Jewish state in the Middle East came to resonate profoundly with a broad range of Americans in the twentieth century. Beginning with debates about Zionism after World War II, Israel’s identity has been entangled with America’s belief in its own exceptional nature. Now, in the twenty-first century, Amy Kaplan challenges the associations underlying this special alliance.
Through popular narratives expressed in news media, fiction, and film, a shared sense of identity emerged from the two nations’ histories as settler societies. Americans projected their own origin myths onto Israel: the biblical promised land, the open frontier, the refuge for immigrants, the revolt against colonialism. Israel assumed a mantle of moral authority, based on its image as an “invincible victim,” a nation of intrepid warriors and concentration camp survivors. This paradox persisted long after the Six-Day War, when the United States rallied behind a story of the Israeli David subduing the Arab Goliath. The image of the underdog shattered when Israel invaded Lebanon and Palestinians rose up against the occupation. Israel’s military was strongly censured around the world, including notes of dissent in the United States. Rather than a symbol of justice, Israel became a model of military strength and technological ingenuity.
In America today, Israel’s political realities pose difficult challenges. Turning a critical eye on the turbulent history that bound the two nations together, Kaplan unearths the roots of present controversies that may well divide them in the future.
When it was first published in 1989, Out of Time generated much-needed discussion on the appropriate models for historical anthropology. Thomas considered that both the historical structuralism of Marshall Sahlins and neo-Marxist regional systems theory had failed to transcend crucial limitations of conventional anthropology. Yet they provided elements of a more stimulating and critical perspective, which would also take account of contemporary political developments in the Pacific region.
For this second edition, Thomas has added an afterword that reflects on the book's initial reception and brings its critique up to date. He suggests a need to historicize the professionalization of anthropology as a discipline to understand shifts in practice and the need to acknowledge the historical specificity and limits of all forms of cultural knowledge, whether "Western" or indigenous.
Out of Time will be a useful text for graduate courses in anthropology, history, and cultural studies.
"This book displays rare integrity: Thomas' intellectual stance toward the theoretical approaches of others is fully consistent with his own discursive practices." --Contemporary Pacific
Nicholas Thomas is Senior Research Fellow, Department of Archaeology and Anthropology, Australian National University.
The Russian shanson can be heard across the country today, on radio and television shows, at mass events like political rallies, and even at the Kremlin. Yet despite its ubiquity, it has attracted almost no scholarly attention. Anastasia Gordienko provides the first full history of the shanson, from its tenuous ties to early modern criminals’ and robbers’ folk songs, through its immediate generic predecessors in the Soviet Union, to its current incarnation as the soundtrack for daily life in Russia. It is difficult to firmly define the shanson or its family of song genres, but they all have some connection, whether explicit or implicit, to the criminal underworld or to groups or activities otherwise considered subversive. Traditionally produced by and popular among criminals and other marginalized groups, and often marked by characters and themes valorizing illegal activities, the songs have undergone censorship since the early nineteenth century. Technically legal only since the collapse of the Soviet Union, the shanson is today not only broadly popular but also legitimized by Vladimir Putin’s open endorsement of the genre.
With careful research and incisive analysis, Gordienko deftly details the shanson’s history, development, and social meanings. Attempts by imperial rulers, and later by Soviet leaders, to repress the songs and the lifestyles they romanticized not only did little to discourage their popularity but occasionally helped the genre flourish. Criminals and liberal intelligentsia mingled in the Gulag system, for instance, and this contact introduced censored songs to an educated, disaffected populace that inscribed its own interpretations and became a major point of wider dissemination after the Gulag camps were closed. Gordienko also investigates the shanson as it exists in popular culture today: not divorced from its criminal undertones (or overtones) but celebrated for them. She argues that the shanson expresses fundamental themes of Russian culture, allowing for the articulation of anxieties, hopes, and dissatisfactions that are discouraged or explicitly forbidden otherwise.
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