A SCHOLARLY BOOK REPOSITORY112 start with S start with S
So describes well-known and beloved folklorist James S. Griffith as he takes us back through the decades to a town in northern Sonora where a statue is saved—and in so doing, a community is saved as well.
In Saints, Statues, and Stories Griffith shares stories of nearly sixty years of traveling through Sonora. As we have come to expect through these journeys, “Big Jim”—as he is affectionately known by many—offers nothing less than the living traditions of Catholic communities. Themes of saints as agents of protection or community action are common throughout Sonora: a saint coming out of the church to protect the village, a statue having a say in where it resides and paying social calls to other communities, or a beloved image rescued from destruction and then revered on a private altar. A patron saint saves a village from outside attackers in one story—a story that has at least ten parallels in Sonora’s former mission communities. Details may vary, but the general narrative remains the same: when hostile nonbelievers attack the village, the patron saint of the church foils them.
Griffith uncovers the meanings behind the devotional uses of religious art from a variety of perspectives—from artist to audience, preservationist to community member. The religious artworks transcend art objects, Griffith believes, and function as ways of communicating between this world and the next. Setting the stage with a brief geography, Griffith introduces us to roadside shrines, artists, fiestas, saints, and miracles. Full-color images add to the pleasure of this delightful journey through the churches and towns of Sonora.
Before Arnold Schwarzenegger, Steve Reeves, or Charles Atlas, there was German-born Eugen Sandow (1867-1925), a muscular vaudeville strongman who used his good looks, intelligence, and business savvy to forge a fitness empire.
David L. Chapman tells the story of the immensely popular showman who emphasized physique display rather than lifting prowess. But he also looks at Sandow's success off-stage, where the entertainer helped found the fitness movement by establishing a worldwide chain of gyms, publishing a popular magazine, selling exercise equipment, and pioneering the use of food supplements. Chapman explains physical culture's popularity in terms of its wider social implications while delving into how Sandow, by making exercise fashionable, ushered in the fitness craze that continues today.
This new edition has been revised and enlarged with an afterword that includes unpublished information, new photographs of Sandow and his contemporaries, and an updated index.
-Gary B. Nash, Director of the National Center for History in the Schools
Taking Frances FitzGerald's textbook study America Revised as a point of departure, Joseph Moreau in Schoolbook Nation challenges FitzGerald's premise that the 1960s were the beginning of the end of the glory days of American history education.
Moreau recounts how in the late twentieth century, cultural commentators such as historian Arthur Schlesinger Jr. and politician Newt Gingrich preached that a new identity crisis had shaken American history in the sixties, and that the grand unified view of our past had given way to various interest groups, who dismantled the old national narrative while demanding a more "inclusive" curriculum for their children.
Moreau discovered, however, that American history, while grand, has never been unified. Delving into more than 100 history books from the last 150 years, the author reveals that the efforts of pressure groups to influence the history curriculum are nearly as old as the mustiest textbook. "For those who would influence textbooks and teaching-Protestant elites in the 1870s, Irish-Americans in the 1920s, and conservative politicians today-the sky has always been falling," according to Moreau.
Schoolbook Nation offers a history lesson of its own: when the story of the past is written or rewritten, truth is often a victim. With its comprehensive treatment of the subjects of honesty and politics in the teaching of history, this is an essential book on the side of truth in a complex debate.
Science of Science and Reflexivity will be welcomed as a companion volume to Bourdieu's now seminal An Invitation to Reflexive Sociology. In this posthumous work, Bourdieu declares that science is in danger of becoming a handmaiden to biotechnology, medicine, genetic engineering, and military research—that it risks falling under the control of industrial corporations that seek to exploit it for monopolies and profit.
Science thus endangered can become detrimental to mankind. The line between pure and applied science, therefore, must be subjected to intense theoretical scrutiny. Bourdieu's goals in Science of Science and Reflexivity are to identify the social conditions in which science develops in order to reclaim its objectivity and to rescue it from relativism and the forces that might exploit it. In the grand tradition of scientific reflections on science, Bourdieu provides a sociological analysis of the discipline as something capable of producing transhistorical truths; he presents an incisive critique of the main currents in the study of science throughout the past half century; and he offers a spirited defense of science against encroaching political and economic forces.
A masterful summation of the principles underlying Bourdieu's oeuvre and a memoir of his own scientific journey, Science of Science and Reflexivity is a capstone to one of the most important and prodigious careers in the field of sociology.
The authors, all noted for their contributions to science studies, have organized this book so that each chapter examines a key step in the process of doing science. Using case studies from cognitive science, physics, and biology to illustrate their descriptions and applications of the social study of science, they show how this approach provides a crucial perspective on how science is actually done.
Scientific Knowledge will be of interest not only to those engaged in science studies, but also to anyone interested in the practice of science.
The 1970s was a golden age for representations of African American life on TV sitcoms: Sanford & Son, Good Times, The Jeffersons. Surprisingly, nearly all the decade’s notable Black sitcoms were made by a single company, Tandem Productions. Founded by two white men, the successful team behind All in the Family, writer Norman Lear and director Bud Yorkin, Tandem gave unprecedented opportunities to Black actors, writers, and producers to break into the television industry. However, these Black auteurs also struggled to get the economic privileges and creative autonomy regularly granted to their white counterparts.
Scratchin’ and Survivin’ discovers surprising parallels between the behind-the-scenes drama at Tandem and the plotlines that aired on their sitcoms, as both real and fictional African Americans devised various strategies for getting their fair share out of systems prone to exploiting their labor. The media scholar Adrien Sebro describes these tactics as a form of “hustle economics,” and he pays special attention to the ways that Black women—including actresses like LaWanda Page, Isabel Sanford, and Esther Rolle—had to hustle for recognition. Exploring Tandem’s complex legacy, including its hit racially mixed sitcom Diff’rent Strokes, he showcases the Black talent whose creative agency and labor resilience helped to transform the television industry.
Published by Bucknell University Press for the Samek Art Museum.
Distributed worldwide by Rutgers University Press.
In one of those rare books that allows us to see the world not as we’ve never seen it before, but as we see it daily without knowing, Victoria Nelson illuminates the deep but hidden attraction the supernatural still holds for a secular mainstream culture that forced the transcendental underground and firmly displaced wonder and awe with the forces of reason, materialism, and science.
In a backward look at an era now drawing to a close, The Secret Life of Puppets describes a curious reversal in the roles of art and religion: where art and literature once took their content from religion, we came increasingly to seek religion, covertly, through art and entertainment. In a tour of Western culture that is at once exhilarating and alarming, Nelson shows us the distorted forms in which the spiritual resurfaced in high art but also, strikingly, in the mass culture of puppets, horror-fantasy literature, and cyborgs: from the works of Kleist, Poe, Musil, and Lovecraft to Philip K. Dick and virtual reality simulations. At the end of the millennium, discarding a convention of the demonized grotesque that endured three hundred years, a Demiurgic consciousness shaped in Late Antiquity is emerging anew to re-divinize the human as artists like Lars von Trier and Will Self reinvent Expressionism in forms familiar to our pre-Reformation ancestors. Here as never before, we see how pervasively but unwittingly, consuming art forms of the fantastic, we allow ourselves to believe.
"What a delightful book! This is surely the most interesting writing you will ever read about Sherlock Holmes, but it is much more. Michael Atkinson gives us literary criticism at its best: the sheer fun of watching a bold and imaginative reader breathe into well-loved, but well-worn, fictions new and enchanting life. Atkinson's mind races as nimbly as Holmes's own, and he makes the stories our hansom cab through human nature itself. A tour de force!"
"A book that speaks directly to readers. . . Atkinson sees far beneath the surface of the Sherlock stories to provide fascinating commentary."
"Atkinson demonstrates a love and knowledge of the Holmes stories. . . I would recommend The Secret Marriage of Sherlock Holmes enthusiastically to any lover of the Canon who is prepared to have their perceptions widened."
Michael Atkinson is Professor of English and Comparative Literature, University of Cincinnati.
Understanding instead of lamenting the popularity of self-help books
Based on a reading of more than three hundred self-help books, Sandra K. Dolby examines this remarkably popular genre to define "self-help" in a way that's compelling to academics and lay readers alike. Self-Help Books also offers an interpretation of why these books are so popular, arguing that they continue the well-established American penchant for self-education, they articulate problems of daily life and their supposed solutions, and that they present their content in a form and style that is accessible rather than arcane.
Using tools associated with folklore studies, Dolby then examines how the genre makes use of stories, aphorisms, and a worldview that is at once traditional and contemporary. The overarching premise of the study is that self-help books, much like fairy tales, take traditional materials, especially stories and ideas, and recast them into extended essays that people happily read, think about, try to apply, and then set aside when a new embodiment of the genre comes along.
From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman’s Selling Sounds explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today’s vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast.
Selling Sounds uncovers the origins of the culture industry in music and chronicles how music ignited an auditory explosion that penetrated all aspects of society. It maps the growth of the music business across the social landscape—in homes, theaters, department stores, schools—and analyzes the effect of this development on everything from copyright law to the sensory environment. While music came to resemble other consumer goods, its distinct properties as sound ensured that its commercial growth and social impact would remain unique.
Today, the music that surrounds us—from iPods to ring tones to Muzak—accompanies us everywhere from airports to grocery stores. The roots of this modern culture lie in the business of popular song, player-pianos, and phonographs of a century ago. Provocative, original, and lucidly written, Selling Sounds reveals the commercial architecture of America’s musical life.
David Howes is Professor of Anthropology, Concordia University, Montreal, Quebec.
As the first comparative study of how comics artists from a wide range of backgrounds use the form to write and draw themselves into cultural visibility, Serial Selves will be of interest to anyone interested in the current boom in autobiographical comics, as well as issues of representation in comics and visual culture more broadly.
The book’s contributors include Sonny Bunch, Christopher Buckley, David “Iowahawk” Burge, Christopher Caldwell, Andrew Ferguson, Jonah Goldberg, Michael Graham, Mollie Hemingway, Rita Koganzon, Matt Labash, James Lileks, Rob Long, Larry Miller, P. J. O’Rourke, Joe Queenan, Christine Rosen, and Andrew Stiles. Jonathan V. Last, senior writer at the Weekly Standard, editor of the collection, is also a contributor. All eighteen essays in this book are appearing for the first time anywhere.
In the book’s opening essay, P. J. O’Rourke observes: “Virtue has by no means disappeared. It’s as much in public view as ever. But it’s been strung up by the heels. Virtue is upside down. Virtue is uncomfortable. Virtue looks ridiculous. All the change and the house keys are falling out of Virtue’s pants pockets.”
Here are the virtues everyone (including the book’s contributors) was taught in Sunday school but have totally forgotten about until this very moment. In this sanctimony-free zone:
• Joe Queenan observes: “In essence, thrift is a virtue that resembles being very good at Mahjong. You’ve heard about people who can do it, but you’ve never actually met any of them.”
• P. J. O’Rourke notes: “Fortitude is quaint. We praise the greatest generation for having it, but they had aluminum siding, church on Sunday, and jobs that required them to wear neckties or nylons (but never at the same time). We don’t want those either.”
• Christine Rosen writes: “A fellowship grounded in sociality means enjoying the company of those with whom you actually share physical space rather than those with whom you regularly and enthusiastically exchange cat videos.”
• Rob Long offers his version of modern day justice: if you sleep late on the weekend, you are forced to wait thirty minutes in line at Costco.
• Jonah Goldberg offers: “There was a time when this desire-to-do-good-in-all-things was considered the only kind of integrity: ‘Angels are better than mortals. They’re always certain about what is right because, by definition, they’re doing God’s will.’ Gabriel knew when it was okay to remove a mattress tag and Sandalphon always tipped the correct amount.”
• Sonny Bunch dissects forbearance, observing that the fictional Two Minutes Hate of George Orwell’s 1984 is now actually a reality directed at living, breathing people. Thanks, in part, to the Internet, “Its targets are designated by a spontaneously created mob—one that, due to its hive-mind nature—is virtually impossible to call off.”
By the time readers have completed The Seven Deadly Virtues, they won’t even realize that they’ve just been catechized into an entirely different—and better—moral universe.
Daniel Reimold gives readers of all generations an inside look at this phenomenon. Student sex columnists and sex magazine editors are both celebrities on their home campuses. One columnist, echoing the sentiments of many, said he became an overnight rock star golden child of journalism. But, with celebrity comes controversy. These columns and magazines have sparked contentious and far-reaching legal, religious, and intergenerational debates about sex, the student press, and the place of both within higher education. They are also the most prominent modern student press combatants in the fight for free speech. And they have blurred journalistic boundaries between what is considered public and private, art and pornography, and gossip and news.
Sex and the University explores the celebrity status that student sex columnists and magazine editors have received, the controversies they have caused, and the sexual generation and student journalism revolution they represent. Complete with a sexicon of slang, this book also dives into the columns and magazines themselves, sharing for the first time what modern students are saying about their sex and love lives, in their own words.
Lucy Bland and Laura Doan have brought together leading historians of sex, cultural and literary critics, and scholars in gay, lesbian, and queer studies, to reassess current debates on sexology in light of its history. They address issues such as the relation of "sexual science" to the law, government policy, journalism, eugenics programs, marriage and sex manuals, and literary representation. They also map out new readings of transsexuality and bisexuality, and the centrality of race within sexology.
Sexology in Culture and its companion Sexology Uncensored will interest all those concerned with understanding modern sexual discourse in its historical context.
Offering readers access to the primary materials on which contemporary sexology is founded, Sexology Uncensored is an invaluable record for all those interested in how we have come to think about sex and sexuality over the last hundred years.
Sexology in Culture and its companion Sexology Uncensored will interest all those concerned with understanding modern sexual discourse in its historical context.
Taking up topics as diverse and timely as the work of FBI profilers, the pornography debates, feminist analyses of male supremacy as sexual abuse, the ritual meanings of fraternity gang rape, and the interplay of racial and sexual injustice, T. Walter Herbert illuminates the chronic masculine anxieties that seek compensation in fantasies of sexual coercion and in sexual offenses against women. His work offers an unusually clear view of this prevailing convention of insecure and destructive masculinity, which Herbert connects with contemporary analyses of male identity formation, sexuality, and violence and with cultural, political, and ideological developments reaching back to the nation's democratic beginnings.
Reading iconic nineteenth-century texts by Whitman, Hawthorne, and Stowe, and pursuing the articulation of their gender logic in Richard Wright's Native Son, Herbert traces a gender ideology of dominance and submission, its persistence in masculine subcultures like the military and big-time football, and its debilitating effects on imaginations and lives in our own day. In materials as diverse as Hannah Foster's post-Revolutionary War novel The Coquette and the Coen brothers' 1996 movie Fargo, this book taps into popular culture and high art alike to outline the logic of American manhood's violent streak--and its dire consequences for a culture with truly democratic and egalitarian ambitions.
In this unique blend of memoir and musical analysis, John Massaro reflects on his experiences as a lifelong fan of The Boss and one of the first professors to design a college course on Springsteen’s work. Focusing on five of the Jersey rocker’s main themes—love, masculinity, sports, politics, and the power of music—he shows how they are represented in Springsteen’s lyrics and shares stories from his own life that powerfully resonate with those lyrics. Meanwhile, paying tribute to Springsteen’s inclusive vision, he draws connections among figures as seemingly disparate as James Joyce, Ta-Nehisi Coates, Thomas Aquinas, Bobby Darin, and Lin-Manuel Miranda. Shades of Springsteen offers a deeply personal take on the musical and cultural legacies of an American icon.
An in-depth exploration of digital culture and its dissemination, Sharing offers a counterpoint to the dominant view that file sharing is piracy. Instead, Philippe Aigrain looks at the benefits of file sharing, which allows unknown writers and artists to be appreciated more easily. Concentrating not only on the cultural enrichment caused by widely shared digital media, Sharing also discusses new financing models that would allow works to be shared freely by individuals without aim at profit. Aigrain carefully balances the needs to support and reward creative activity with a suitable respect for the cultural common good and proposes a new interpretation of the digital landscape.
Sherlock Holmes remains more popular than ever some 130 years after the detective first appeared in print. These days, the iconic character’s staying power is due in large part to the success of the recent BBC series Sherlock, which brings the famous sleuth into the twenty-first century.
One of the most-watched television series in BBC history, Sherlock is set in contemporary London, where thirtysomething Sherlock and John (no longer fussy old Holmes and Watson), alongside New Scotland Yard, solve crimes with the help of smartphones, texting, online forums, and the internet. In their modernization of Sir Arthur Conan Doyle’s nineteenth-century world, Sherlock creators Stephen Moffatt and Mark Gatiss make London as much a character of their show as the actors themselves. The highly stylized series has inspired an impassioned fan community in Britain, the U.S., and beyond. Fans create and share their writings, which reimagine the characters in even more dramatic ways than the series can.
Interweaving fan fiction studies, world-building, and genre studies, Ann McClellan examines the hit series and the fan fiction it inspires. Using Sherlock to trace the changing face of fan fiction studies, McClellan’s book explores how far fans are willing to go to change the Sherlockian canon while still reinforcing its power and status as the source text. What makes Sherlock fanfic Sherlockian? How does it stay within the canon even while engaging in the wildest reimaginings? Sherlock’s World explores the boundaries between canon, genre, character, and reality through the lenses of fan fiction and world-building. This book promises to be a valuable resource for fan studies scholars, those who write fan fiction, and Sherlock fans alike.
The case studies address, for example, the legacy of the so-called Celler Hasenjagd (the hunting down of concentration camp prisoners who survived an Allied air raid in April 1945 in a town in Lower Saxony); efforts by the City of Hildesheim to memorialize the Kristallnacht pogrom; attempts by Italian, Jewish, and Sinti survivors to commemorate their suffering in two West German towns; the posthumous reputation of a German communist imprisoned in Buchenwald and credited with having saved the lives of 159 Jewish children; and the public memories of the Ravensbrück and Buchenwald concentration camps in East Germany.
Directed at an audience curious about contemporary Germany, this book will appeal to those interested in issues of public and social memory, and in the legacy of Auschwitz.
Klaus Neumann is a historian who has taught in universities in Germany and Australia and written about social memories in the Pacific Islands, Australia, and Germany. Previous books include Not the Way It Really Was and Rabaul Yu Swit Moa Yet. He lives in Richmond, Australia.
Tracing the western from its hazy silent-picture origins in the 1890s to the advent of talking pictures in the 1920s, Smith examines the ways in which silent westerns contributed to the overall development of the film industry.
Focusing on such early important production companies as Selig Polyscope, New York Motion Picture, and Essanay, Smith revises current thinking about the birth of Hollywood and the establishment of Los Angeles as the nexus of filmmaking in the United States. Smith also reveals the role silent westerns played in the creation of the white male screen hero that dominated American popular culture in the twentieth century.
Illustrated with dozens of historic photos and movie stills, this engaging and substantive story will appeal to scholars interested in Western history, film history, and film studies as well as general readers hoping to learn more about this little-known chapter in popular filmmaking.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
A berserk elephant gunned down in the heart of London, a machine for composing Latin hexameters, and the original rock band (1841)—these are but three of the sights that London curiosity–seekers from every walk of life paid to see from the Elizabethan era to the mid–Victorian period. Examining hundreds of the wonderfully varied exhibitions that culminated in the Crystal Palace of 1851, this generously illustrated book sheds light on a vast and colorful expanse of English social history that has thus far remained wholly unsurveyed.
Drawing on a wealth of never-before-used information, Mr. Altick traces London exhibitions as they evolved from the display of relics in pre-Reformation churches, through the collections of eighteenth-century virtuosi, to the first science museums and public art galleries. He also narrates for the first time the history of the panorama and diorama as an influential genre of nineteenth-century popular art. At every point, the London shows are linked to the prevailing intellectual atmosphere and to trends in public taste.
The material is fresh and fascinating; the range--from freaks to popular science, from the funeral effigies at Westminster Abbey to Madame Tussaud's waxworks--impressive. Like the exhibitions that best served the Victorian ideal of mass culture, The Shows of London is both entertaining and informative.
Helen Gilbert discusses an exciting variety of plays, drawing examples from marginalized groups as well as from the theatrical mainstream. While fully engaged with the discourses of contemporary critical thought, Sightlines remains focused on the material stuff of the theater, grounding its discussion in the visual elements of costume, movement, and scenography. And although focused specifically on performance, the author's insistent interest in historical and political contexts also speaks to the broader concerns of cultural studies.
The book's recurrent concern with representations of Aboriginality, particularly in the works of nonindigenous playwrights, draws attention to racial politics as a perennial motif in postcolonial nations. Its illumination of the relationships between patriarchy and imperialism is supported by an extensive discussion of plays by and about women. This nomadic approach marks Sightlines as a groundbreaking study of recent Australian theater, a provocative application of postcolonial theory to the embodied qualities of theatrical representation.
"An impressive and ground-breaking study that provides a coherent postcolonial approach to Australian drama." --Bill Ashcroft, University of New South Wales
"Elegantly written, and always beautifully lucid in its argument. . . . this is a very original work, particularly in its marriage of performance theory and postcolonial analysis." --Deidre Coleman, University of Sydney
Helen Gilbert is Lecturer in Drama and Theatre Studies, University of Queensland, and co-author, with Joanne Tompkins, of Post-Colonial Drama: Theory, Practice, Politics.
The essays bring together studies in the fields of social and family therapy, psychological research, and literary criticism.
Through detailed analyses of documentary photography and radical literature, Silent Witnesses explores how working-class identity has been repressed and manipulated to fit the expectations of liberal politicians, radical authors, Marxist historians, feminist academics, and contemporary cultural theorists.
"Since when is Fran Drescher Jewish?" This was Chiara Francesca Ferrari's reaction when she learned that Drescher's character on the television sitcom The Nanny was meant to be a portrayal of a stereotypical Jewish-American princess. Ferrari had only seen the Italian version of the show, in which the protagonist was dubbed into an exotic, eccentric Italian-American nanny. Since When Is Fran Drescher Jewish? explores this "ventriloquism" as not only a textual and cultural transfer between languages but also as an industrial practice that helps the media industry foster identification among varying audiences around the globe.
At the heart of this study is an in-depth exploration of three shows that moved from global to local, mapping stereotypes from both sides of the Atlantic in the process. Presented in Italy, for example, Groundskeeper Willie from The Simpsons is no longer a belligerent, alcoholic Scotsman but instead easily becomes a primitive figure from Sardinia. Ironically, The Sopranos—a show built around Italian-Americans—was carefully re-positioned by Italian TV executives, who erased the word "mafia" and all regional references to Sicily. The result of Ferrari's three case studies is evidence that "otherness" transcends translation, as the stereotypes produced by the American entertainment industry are simply replaced by other stereotypes in foreign markets. As American television studios continue to attempt to increase earnings by licensing their shows abroad, Since When Is Fran Drescher Jewish? illuminates the significant issues of identity raised by this ever-growing marketplace, along with the intriguing messages that lie in the larger realm of audiovisual cultural exchange.
Singular Sensations is the first book-length critical study to examine this important but long neglected mode of cartoon art. Michelle Ann Abate provides an overview of how the American single-panel comic evolved, starting with Thomas Nast’s political cartoons and R.F. Outcault’s ground-breaking Yellow Kid series in the nineteenth century. In subsequent chapters, she explores everything from wry New Yorker cartoons to zany twenty-first-century comics like Bizarro. Offering an important corrective to the canonical definition of comics as “sequential art,” Abate reveals the complexity, artistry, and influence of the single panel art form.
Engaging with a wide range of historical time periods, socio-political subjects, and aesthetic styles, Singular Sensations demonstrates how comics as we know and love them would not be the same without single-panel titles. Abate’s book brings the single-panel comic out of the margins and into the foreground.
Sinoglossia places embodiment, mediality, and translation at the center of this analytical inquiry into Chinese and Sinophone cultures. This book introduces a theory defined by cultural formations not overdetermined by Sinitic linguistic ties. The concept of sinoglossia combines a heteroglossic and heterotopian approach to the critical study of mediated discourses of China and “Chineseness.” From the history of physical examinations and queer subalternity to the cinematic inscription of “Chineseness-as-landscape,” and from Sinopop to the translational writings of Eileen Chang and Syaman Rapongan, this book argues for a flexible conceptualization of cultural objects, conditions, and contexts that draws attention to an array of polyphonic, multi-discursive, and multilingual articulations. In this new horizon of understanding, place or theme create a source of friction and innovation.
In this expanded version, Cawelti revises his analysis of the structural characteristics of the Western novel and film, synthesizing much of the rich discussion of the Western genre that has appeared since The Six-Gun Mystique's original publication. To this structural analysis he adds a new account of the genre's history and its relationship to the myths of the West that have played such an influential role in American history. The Six-Gun Mystique Sequel concludes with an exploration of the continuing influence of Western themes and symbols on many aspects of postmodern American culture, and an assessment of the critical tradition that has developed around the Western genre. The appendices of the book are also revised and expanded to include useful lists of the most important Western novels and films, as well as the best critical and historical studies of different aspects of the genre.
“If you remember the Sixties,” quipped Robin Williams, “you weren’t there.” That was, of course, an oblique reference to the mind-bending drugs that clouded perception—yet time has proven an equally effective hallucinogen. This book revisits the Sixties we forgot or somehow failed to witness. In a kaleidoscopic global tour of the decade, Gerard DeGroot reminds us that the “Ballad of the Green Beret” outsold “Give Peace a Chance,” that the Students for a Democratic Society were outnumbered by Young Americans for Freedom, that revolution was always a pipe dream, and that the Sixties belong to Reagan and de Gaulle more than to Kennedy and Dubcek.
The Sixties Unplugged shows how opportunity was squandered, and why nostalgia for the decade has obscured sordidness and futility. DeGroot returns us to a time in which idealism, tolerance, and creativity gave way to cynicism, chauvinism, and materialism. He presents the Sixties as a drama acted out on stages around the world, a theater of the absurd in which China’s Cultural Revolution proved to be the worst atrocity of the twentieth century, the Six-Day War a disaster for every nation in the Middle East, and a million slaughtered Indonesians martyrs to greed.
The Sixties Unplugged restores to an era the prevalent disorder and inconvenient truths that longing, wistfulness, and distance have obscured. In an impressionistic journey through a tumultuous decade, DeGroot offers an object lesson in the distortions nostalgia can create as it strives to impose order on memory and value on mayhem.
This book describes who American skinheads are, how they have developed within larger youth group scenes, their ideas and activities, the role of music in their formation and development, how they have been perceived by the media in America, and what damage they have done in American society. Jack B. Moore focuses on the cultural history of this group in America during the 1980s and suggests that while they were originally a minor distraction on the punk scene, they have grown into a dangerous and far more politically engaged source of hate thought and crime.
Moon illuminates the careers of James, Warhol, and others by examining the imaginative investments of their protogay childhoods in their work in ways that enable new, more complex cultural readings. He deftly engages notions of initiation and desire not within the traditional framework of “sexual orientation” but through the disorienting effects of imitation. Whether invoking the artist Joseph Cornell’s early fascination with the Great Houdini or turning his attention to James’s self-described “initiation into style” at the age of twelve—when he first encountered the homoerotic imagery in paintings by David, Géricault, and Girodet—Moon reveals how the works of these artists emerge from an engagement that is obsessive to the point of “queerness.”
Rich in historical detail and insistent in its melding of the recent with the remote, the literary with the visual, the popular with the elite, A Small Boy and Others presents a hitherto unimagined tradition of brave and outrageous queer invention. This long-awaited contribution from Moon will be welcomed by all those engaged in literary, cultural, and queer studies.
Smoothing the Jew investigates how Jewish artists of the time attempted to “smooth over” these demeaning portrayals by focusing on the first Jewish comic strip published in English, Harry Hershfield’s Abie the Agent. Jeffrey Marx demonstrates how Hershfield created a Jewish protagonist who in part reassured nativists of the Jews’ ability to assimilate into American society while also encouraging immigrants and their children that, over time, they would be able to adopt American customs without losing their distinctly Jewish identity.
Waffle House has long been touted as an icon of the American South. The restaurant’s consistent foregrounding as a resonant symbol of regional character proves relevant for understanding much about the people, events, and foodways shaping the sociopolitical contours of today’s Bible Belt. Whether approached as a comedic punchline on the Internet, television, and other popular media or elevated as a genuine touchstone of messy American modernity, Waffle House, its employees, and everyday clientele do much to transcend such one-dimensional characterizations, earning distinction in ways that regularly go unsung.
Smothered and Covered: Waffle House and the Southern Imaginary is the first book to socioculturally assess the chain within the field of contemporary food studies. In this groundbreaking work, Ty Matejowsky argues that Waffle House’s often beleaguered public persona is informed by various complexities and contradictions. Critically unpacking the iconic eatery from a less reductive perspective offers readers a more realistic and nuanced portrait of Waffle House, shedding light on how it both reflects and influences a prevailing southern imaginary—an amorphous and sometimes conflicting collection of images, ideas, attitudes, practices, linguistic accents, histories, and fantasies that frames understandings about a vibrant if also paradoxical geographic region.
Matejowsky discusses Waffle House’s roots in established southern foodways and traces the chain’s development from a lunch-counter restaurant that emerged across the South. He also considers Waffle House’s place in American and southern popular culture, highlighting its myriad depictions in music, television, film, fiction, stand-up comedy, and sports. Altogether, Matejowsky deftly and persuasively demonstrates how Waffle House serves as a microcosm of today’s South with all the accolades and criticisms this distinction entails.
Chalfen’s “Polaroid People” are recognizable—if ironically viewed—relatives, uncles, aunts, and All-American kids. As members of “Kodak Culture” they watch home movies, take pictures of newborn babies, and even, in their darker moments, scratch out the faces of disliked relatives in group photographs. He examines who shoots these photos and why, as well as how they think (or don’t) of planning, editing, and exhibiting their shots. Chalfen’s analysis reveals the culturally structured behavior underlying seemingly spontaneous photographic activities.
Soccer takes readers on an idiosyncratic journey that delves deep into the author’s childhood memories, but also transports us to World Cup matches in Japan, Germany, South Africa, and Brazil. Along the way, it kicks around such provocative questions as: How does soccer fandom both support and transcend nationalism? How are our memories of soccer matches both collective and distinctly personal? And how can a game this beautiful and this ephemeral be adequately captured in words?
Part travelogue, part memoir, and part philosophical essay, Soccer is entirely unique, a thrilling departure from the usual clichés of sports writing. Even readers with little knowledge of the game will be enthralled by Touissant’s profound musings and lyrical prose.
This book provides a thinking fan’s guide to the world’s most popular game, proposing a way of engaging soccer that sparks intellectual curiosity and employs critical consciousness. Using stories and data, along with ideas from sociology, psychology, and across the social sciences, it provides readers with new ways of understanding fanaticism, peak performance, talent development, and more. Drawing on concepts ranging from cognitive bias to globalization, it illuminates meanings of the game for players and fans while investigating impacts on our lives and communities. While it considers soccer cultures across the globe, the book also analyzes what makes U.S. soccer culture special, including its embrace of the women’s game.
As a scholar, former minor league player and coach, and fan, Andrew Guest offers a distinctive perspective on soccer in society. Whatever name you call it, and whatever your interest in it, Soccer in Mind will enrich your own view of the one truly global game.
In the twentieth century Marxism challenged laissez-faire economics, psychoanalysis reinterpreted the processes of thought, and evolution discredited the idea of creation. These changes profoundly affected American Protestantism. Ferré examines the belief system that underlies what middle-class Protestants chose to read.
In A Social History of Truth, Shapin engages these universal questions through an elegant recreation of a crucial period in the history of early modern science: the social world of gentlemen-philosophers in seventeenth-century England. Steven Shapin paints a vivid picture of the relations between gentlemanly culture and scientific practice. He argues that problems of credibility in science were practically solved through the codes and conventions of genteel conduct: trust, civility, honor, and integrity. These codes formed, and arguably still form, an important basis for securing reliable knowledge about the natural world.
Shapin uses detailed historical narrative to argue about the establishment of factual knowledge both in science and in everyday practice. Accounts of the mores and manners of gentlemen-philosophers are used to illustrate Shapin's broad claim that trust is imperative for constituting every kind of knowledge. Knowledge-making is always a collective enterprise: people have to know whom to trust in order to know something about the natural world.
Work on the Kaiserreich built up impressive momentum during the 1970s and 1980s, when a series of inspiring but divisive controversies called into question the ways in which German historical development in the nineteenth and twentieth centuries was mainly understood. These discussions focused on issues of continuity between Bismarck and Hitler and the peculiar strength of authoritarianism in German political culture, raising important questions about the deep origins of Nazism and about Germany's alleged differences from the West.
The collection purposefully brings certain issues and approaches into the foreground. These include the value of taking gender seriously as a priority of historical work; the emergence of social policy and welfare during the early twentieth century; religious belief and affiliation as a neglected dimension in modern German history; the tremendous importance of the First World War as a climacteric; and the exciting potentials of cultural studies and the new cultural history.
A varied group, the contributors embrace different kinds of history and certainly do not subscribe to a common line. Some essays suggest alternative periodizations and focus on the early twentieth century decades rather than the integral unity of the Kaiserreich as such. Together, they take stock of the field, critically synthesizing existing knowledge and laying down agendas for the future.
Geoff Eley is Professor of History, University of Michigan.
In meticulous detail, Soft in the Middle demonstrates that softcore’s under-the-radar success and pervasive cultural devaluation may be understood in terms of the “postfeminist” strategies employed by successive generations of producers and distributors, each intent on overcoming obstacles to the mainstream distribution of pornographic material. Softcore and its American precursors became more “feminized” and “female friendly” as their distribution widened, a process hastened in the 1980s by the industry’s transition to private, non-theatrical modes of distribution and exhibition (e.g., home-video outlets and premium-cable networks like Cinemax). One of the byproducts of this development is that contemporary softcore has frequently resorted to what are arguably anti-male or “misandristic” attitudes and depictions. Clearly, the genre challenges traditional assumptions about pornography, including those held by feminists on both sides of “the porn debates.”
Drawing on original industrial research, extensive sampling, and wide-ranging scholarship, Soft in the Middle offers a nuanced look at a discreetly indecent genre whose central commodity has always been female nudity. The book examines the genre’s history, describes its deflationary trajectory, and differentiates the reading patterns of its disparate audiences, including “cult” critics and feminist critics. Naturally, the book also considers the genre’s formal and ideological conventions, surveying its most exemplary subgenres, styles, and motifs—and lavishing particular attention on its most influential studios, directors, and texts.
Some Kind of Mirror offers the first extended scholarly analysis of Marilyn Monroe’s film performances, examining how they united the contradictory discourses about women’s roles in 1950s America. Amanda Konkle suggests that Monroe’s star persona resonated with audiences precisely because it engaged with the era’s critical debates regarding femininity, sexuality, marriage, and political activism. Furthermore, she explores how Monroe drew from the techniques of Method acting and finely calibrated her performances to better mirror her audience’s anxieties and desires.
Drawing both from Monroe’s filmography and from 1950s fan magazines, newspaper reports, and archived film studio reports, Some Kind of Mirror considers how her star persona was coauthored by the actress, the Hollywood publicity machine, and the fans who adored her. It is about why 1950s America made Monroe a star, but it is also about how Marilyn defined an era.
By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication—an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.
A groundbreaking approach to sound in sci-fi films offers new ways of construing both sonic innovation and science fiction cinema
Including original readings of classics like The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, and Blade Runner, The Sound of Things to Come delivers a comprehensive history of sound in science fiction cinema. Approaching movies as sound objects that combine cinematic apparatus and consciousness, Trace Reddell presents a new theory of sonic innovation in the science fiction film.
Reddell assembles a staggering array of movies from sixty years of film history—including classics, blockbusters, B-movies, and documentaries from the United States, Britain, France, Germany, Japan, and the Soviet Union—all in service to his powerful conception of sound making as a speculative activity in its own right. Reddell recasts debates about noise and music, while arguing that sound in the science fiction film provides a medium for alien, unknown, and posthuman sound objects that transform what and how we hear.
Avoiding genre criticism’s tendency to obsess over utopias, The Sound of Things to Come draws on film theory, sound studies, and philosophies of technology to advance conversations about the avant-garde, while also opening up opportunities to examine cinematic sounds beyond the screen.
Drawing on her extensive fieldwork, Wong lays out the ritual in detail: the way it is enacted, the foods and objects involved, and the people who perform it, emphasizing the way the performers themselves discuss and construct aspects of the ceremony.
From 1840 to 1900, midwestern Americans experienced firsthand the profound economic, cultural, and structural changes that transformed the nation from a premodern, agrarian state to one that was urban, industrial, and economically interdependent. Midwestern commercial farmers found themselves at the heart of these changes. Their actions and reactions led to the formation of a distinctive and particularly democratic consumer ethos, which is still being played out today.
By focusing on the consumer behavior of midwestern farmers, Sowing the American Dream provides illustrative examples of how Americans came to terms with the economic and ideological changes that swirled around them. From the formation of the Grange to the advent of mail-order catalogs, the buying patterns of rural midwesterners set the stage for the coming century.
Carefully documenting the rise and fall of the powerful purchasing cooperatives, David Blanke explains the shifting trends in collective consumerism, which ultimately resulted in a significant change in the way that midwestern consumers pursued their own regional identity, community, and independence.
Drawing upon detailed observations and in-depth interviews, Chepp tells the story of a diverse group of young adults from Washington, D.C. who use spoken word to create a more just and equitable world. Outlining the contours of this approach, she interrogates spoken word activism’s emphasis on personal storytelling and “truth,” the strategic uses of aesthetics and emotions to politically engage across difference, and the significance of healing in sustainable movements for change. Weaving together their poetry and personally told stories, Chepp shows how poets tap into the beautiful, emotional, personal, and therapeutic features of spoken word to empathically connect with others, advance intersectional and systemic analyses of inequality, and make social justice messages relatable across a diverse public. By creating allies and forging connections based on friendship, professional commitments, lived experiences, emotions, artistic kinship, and political views, this activist approach is highly integrated into the everyday lives of its practitioners, online and face-to-face.
Chepp argues that spoken word activism is a product of, and a call to action against, the neoliberal era in which poets have come of age, characterized by widening structural inequalities and increasing economic and social vulnerability. She illustrates how this deeply personal and intimate activist approach borrows from, builds upon, and diverges from previous social movement paradigms. Spotlighting the complexity and mutual influence of modern-day activism and the world in which it unfolds, Speaking Truths contributes to our understanding of contemporary social change-making and how neoliberalism has shaped this political generation’s experiences with social injustice.
In Speculative Blackness, André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination.
Carrington’s argument about authorship, fandom, and race in a genre that has been both marginalized and celebrated offers a black perspective on iconic works of science fiction. He examines the career of actor Nichelle Nichols, who portrayed the character Uhura in the original Star Trek television series and later became a recruiter for NASA, and the spin-off series Star Trek: Deep Space Nine, set on a space station commanded by a black captain. He recovers a pivotal but overlooked moment in 1950s science fiction fandom in which readers and writers of fanzines confronted issues of race by dealing with a fictitious black fan writer and questioning the relevance of race to his ostensible contributions to the 'zines. Carrington mines the productions of Marvel comics and the black-owned comics publisher Milestone Media, particularly the representations of black sexuality in its flagship title, Icon. He also interrogates online fan fiction about black British women in Buffy the Vampire Slayer and the Harry Potter series.
Throughout this nuanced analysis, Carrington theorizes the relationship between race and genre in cultural production, revealing new understandings of the significance of blackness in twentieth-century American literature and culture.
In Spirit and Sport: Religion and the Fragile Athletic Body in Popular Culture, Sean O’Neil studies the intersectionality of religion and disability as it exists within contemporary sports. To do so, he calls to the forefront various contemporary stories about trauma and disability—some fictional, others biographical—and examines how we tell and interpret these stories within the frameworks of athletic activity, competition, failure, and success. O’Neil studies a wide range of perspectives, from John Irving’s A Prayer for Owen Meany and the big-screen’s Signs to the experiences of real-life athletes like Tim Tebow, Muhammad Ali, and Bethany Hamilton. Woven throughout his examination of each is a consideration of religious belief and practice, especially within Christianity, as it relates to athletic ability—the lighthearted stories of victory and overcoming, the inspiring triumph over fragility and limitation so often couched in religious terms.
O’Neil’s study draws upon his experiences as a hospital chaplain and his own battle with skin cancer. By blending personal experience with sociological observation, O’Neil argues that the intersection of religion, sports, and disability in popular culture is a revealing site of cultural struggle over competing myths, identities, and values related to the body—both the physical bodies we inhabit as well as the broader social bodies to which we subscribe.
Spirit and Sport is a study with broad appeal: from O’Neil’s autoethnographic storytelling to the wide range of narrative media he examines, religious scholars, sports historians, and general audiences alike are sure to find it a thought-provoking and engaging read.
All of this information at our fingertips—and we might not need any of it
Concurrent with the compulsory connectivity of the digital age is the rise of the spoiler. The inevitability of information has changed the critical quality of modernity, leaving us with acute vertigo—a feeling that nothing new is left out there. Encompassing memes and trigger warnings, Vilem Flusser and Thomas Pynchon, Spoiler Alert wrangles with the state of surprise in post-historical times. Aaron Jaffe delivers a timely corrective to post-critical modes of reading that demonstrates the dangers of forfeiting critical suspicion.
Forerunners: Ideas First
Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead
A literary and cultural milestone, Spoon River Anthology captured an idea of the rural Midwest that became a bedrock myth of life in small-town America. Jason Stacy places the book within the atmosphere of its time and follows its progress as the poetry took root and thrived. Published by Edgar Lee Masters in 1915, Spoon River Anthology won praise from modernists while becoming an ongoing touchstone for American popular culture. Stacy charts the ways readers embraced, debated, and reshaped Masters's work in literary controversies and culture war skirmishes; in films and other media that over time saw the small town as idyllic then conflicted then surreal; and as the source of three archetypes—populist, elite, and exile—that endure across the landscape of American culture in the twenty-first century.
A wide-ranging reconsideration of a literary landmark, Spoon River America tells the story of how a Midwesterner's poetry helped change a nation's conception of itself.
In Sports Movies, Lester D. Friedman describes the traditional formulas that have made these movies such crowd-pleasers, including stock figures like the disgraced athlete on a quest for redemption, or the wise old coaches who help mentor the heroes to victory. He also explores how the genre’s attitudes have changed over time, especially in key issues like class, race, masculinity, and women in sports.
Along the way, he takes stock of sports films from the dawn of cinema’s silent era to the present day, including classic baseball movies like Pride of the Yankees and Bull Durham, basketball movies like Hoosiers and He’s Got Game, football movies like Friday Night Lights and Rudy, and boxing movies like Raging Bull and Million Dollar Baby. As Friedman’s analyses reveal, not only do sports movies influence our perceptions about the drama of real-life sports, but they also help to shape our attitudes toward the competitive ethos in American life.
In Sports: The First Five Millennia, Guttmann traces this evolution across continents, cultures, and historical epochs to construct a single comprehensive narrative of the world's sports.
Rukmini Pande’s examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination.
Pande’s study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.
Using case studies that explore the Eucharistic wafer on the medieval stage, the bloody handkerchief on the Elizabethan stage, the skull on the Jacobean stage, the fan on the Restoration and early eighteenth-century stage, and the gun on the modern stage, Andrew Sofer reveals how stage props repeatedly thwart dramatic convention and reinvigorate theatrical practice.
While the focus is on specific objects, Sofer also gives us a sweeping history of half a millennium of stage history as seen through the device of the prop, revealing that as material ghosts, stage props are a way for playwrights to animate stage action, question theatrical practice, and revitalize dramatic form.
Andrew Sofer is Assistant Professor of English, Boston College. He was previously a stage director.
Closely recounting her discovery of the ways in which Rent took materials from her own novel, Schulman takes us on her riveting and infuriating journey through the power structures of New York theater and media, a journey she pursued to seek legal restitution and make her voice heard. Then, to provide a cultural context for the emergence of Rent—which Schulman experienced first-hand as a weekly theater critic for the New York Press at the time of Rent’s premiere—she reveals in rich detail the off- and off-off-Broadway theater scene of the time. She argues that these often neglected works and performances provide more nuanced and accurate depictions of the lives of gay men, Latinos, blacks, lesbians and people with AIDS than popular works seen in full houses on Broadway stages. Schulman brings her discussion full circle with an incisive look at how gay and lesbian culture has become rapidly commodified, not only by mainstream theater productions such as Rent but also by its reduction into a mere demographic made palatable for niche marketing. Ultimately, Schulman argues, American art and culture has made acceptable a representation of “the homosexual” that undermines, if not completely erases, the actual experiences of people who continue to suffer from discrimination or disease. Stagestruck’s message is sure to incite discussion and raise the level of debate about cultural politics in America today.
While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke-White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League.
Erik Gunderson explores these and other questions in ancient rhetorical theory using a variety of theoretical approaches, drawing in particular on the works of Judith Butler, Michel Foucault, and Jacques Lacan. His study examines the status of rhetorical theory qua theory, the production of a specific version of body in the course of its theoretical description, oratory as a form of self-mastery, the actor as the orator's despised double, the dangers of homoerotic pleasure, and Cicero's De Oratore, as what good theory and practice ought to look like.
Erik Gunderson is Assistant Professor of Greek and Latin, Ohio State University.
Chaudhuri starts with a discussion of a "poetics of exile" in early modern drama, where the figure of home is constructed as a locus of two conflicting impulses: the desire to find a stable site for individual identity and the desire to deterritorialize the self. By mid-century, she argues, a new discourse of "failed homecoming" begins to displace this geopathic model and replace the poetics of exile with a grim anti-poetics of immigration. She then employs postmodern and postcolonial theories of place and culture to define the emerging multiculturalism as a creative reworking of the figures of home, homecoming, homelessness, immigration and exile.
"This is a book of real originality. Its treatment of space in modern drama is elegant and powerful. . . ." --William B. Worthen, Northwestern University
"Staging Place is a powerfully written book, deft in its handling of familiar and unfamiliar plays alike and eclectic in its use of theatrical sources." --Essays in Theatre/ Études théâtrales
"This sophisticated and well-written study for graduate students and their teachers explores modern drama's preoccupation with the seemingly irreconcilable discontinuities between the notions of home and homelessness, belonging and exile. . . . The readings of individual plays are fresh and invigorating. . . ." --Choice
Una Chaudhuri is Associate Professor of English, New York University.
It scares—and titillates—in such movies as The Hand That Rocks the Cradle and Basic Instinct. It violently ended the lives of legendary artists such as Selena and John Lennon, and thousands of people endure it daily in anonymity from ex-lovers and strangers. Stalking has been a fact of human society for a surprisingly long time, yet it is only in the last two decades that the term “stalking” came into wide use throughout mass culture. Bran Nicol traces here the history of stalking and chronicles how acts of extreme obsession have created a public fixation of their own.
This unprecedented study draws on a wealth of sources—including forensic psychology, films, literature, news reports, and cultural theory—to examine stalking as a behavior and a social phenomenon. Moving from Samuel Richardson’s Clarissa to Fatal Attraction and from Charles Dickens’s Our Mutual Friend to Taxi Driver and One Hour Photo, Nicol skillfully probes how stalking has pervaded our civilizatoin for over two hundred years. He then turns his focus to the role that stalking plays in the context of our contemporary media-saturated culture, posing provocative questions about the state of modern society: Have interpersonal relations become increasingly intense or more perverse today? Are we dealing with something truly new, or is stalking simply the latest name for an age-old form of social interaction? Stalking also examines cases of deadly obsession with celebrities, such as Jodie Foster, and explores how such fixations are fueled by mass media and the Internet.
A wholly fascinating and groundbreaking investigation into one of the extreme consequences of our hyper-connected age, Stalking provides a thorough understanding of this disturbingly compelling abnormality.
Drawing from a full range of Star Wars media, including comics, children’s books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery.
The four “star worlds” explored in this book illustrate the dilemmas concerning the role of technology as liberator or oppressor in our post-industrial society, and represent computer simulations of future possibilities of human experience. Bainbridge considers the relationship between a real person and the role that person plays, the relationship of an individual to society, and the relationship of human beings to computing technology. In addition to collecting ethnographic and quantitative data about the social behavior of other players, he has immersed himself in each of these worlds, role-playing 14 avatars with different skills and goals to gain new insights into the variety of player experience from a personal perspective.
These deeply personal narratives reveal dreams of fame and glory, in which scientists confess their ambitions of becoming the next Newton or Einstein. However, these scientists also discuss the meaning of success and failure. We hear their stories of aspiration and anxiety, disappointment and tragedy, hope and achievement; we are privy to their doubts and to what they consider to be their limitations and weaknesses. As the scientists age in their professions, the specter of failure often visits them, and they have to accept something less than scientific immortality or even the Nobel Prize.
Ultimately these stories give us more than an inside look at the details of careers in science, they also examine ambition by uncovering the forces that drive people in their professions and by describing how these forces persist or fade over time. Ambition for greatness often ignites a career and often sustains it. Yet, as Hermanowicz's study reveals, greatness eludes nearly all people in their heroic quests for extraordinary achievement. The Stars Are Not Enough offers a fascinating account that will appeal to anyone interested in how people's dreams blossom and evolve.
John Steinbeck once famously wrote that "Texas is a state of mind." For those who know it well, however, the Lone Star State is more than one mind-set, more than a collection of clichés, more than a static stereotype. There are minds in Texas, Don Graham asserts, and some of the most important are the writers and filmmakers whose words and images have helped define the state to the nation, the world, and the people of Texas themselves. For many years, Graham has been critiquing Texas writers and films in the pages of Texas Monthly and other publications. In State of Minds, he brings together and updates essays he published between 1999 and 2009 to paint a unique, critical picture of Texas culture.
In a strong personal voice—wry, humorous, and ironic—Graham offers his take on Texas literary giants ranging from J. Frank Dobie to Larry McMurtry and Cormac McCarthy and on films such as The Alamo, The Last Picture Show, and Brokeback Mountain. He locates the works he discusses in relation to time and place, showing how they sprang (or not) from the soil of Texas and thereby helped to define Texas culture for generations of readers and viewers—including his own younger self growing up on a farm in Collin County. Never shying from controversy and never dull, Graham's essays in State of Minds demolish the notion that "Texas culture" is an oxymoron.
A growing body of scholarly literature exists now to provide insights and suggest answers to the question of why so many continually return to the routine tragedies of daytime drama. Each of our chapters explores an aspect of soap opera which contributes to the endurance of the genre.
Stephen King's America aims to heighten awareness of the numerous American issues that resonate throughout King's fiction, issues that bear universal application to the evolution of the human condition.
Jonathan Latimer (1906-1983) wrote nine detective novels. He also wrote or co-wrote 20 film scripts, including such noir classics as the second version of Dasheill Hammett's The Glass Key, Kenneth Fearing's The Big Clock, and Cornell Woolrich's The Night Has a Thousand Eyes. Moving to television writing, he scripted 45 original stories and adapted 50 Eric Stanley Gardner novels for the Perry Mason series.
The FANtasy subculture started forming around text-based media, such as yaoi, fan fiction, and U.S. gay-themed dramas (like Will & Grace), and has been influenced by diverse social, political, and economic conditions, such as the democratization of Korea, an open policy toward foreign media products, the diffusion of consumerism, government investment in the culture, the Hollywoodization of the film industry, and the popularity of Korean culture abroad. While much scholarly attention has been paid to female fandom for homoerotic cultural texts in many countries, this book seeks to explore a relatively neglected aspect of the subculture: its location in and influence on Korean society at large.
Our foremost theorist of myth, fairytales, and folktales explores the magical realm of the imagination where carpets fly, objects speak, dreams reveal hidden truths, and genies grant prophetic wishes. Stranger Magic examines the wondrous tales of the Arabian Nights, their profound impact on the West, and the progressive exoticization of magic since the eighteenth century, when the first European translations appeared.
The Nights seized European readers' imaginations during the siècle des Lumières, inspiring imitations, spoofs, turqueries, extravaganzas, pantomimes, and mauresque tastes in dress and furniture. Writers from Voltaire to Goethe to Borges, filmmakers from Raoul Walsh on, and countless authors of children's books have adapted its stories. What gives these tales their enduring power to bring pleasure to readers and audiences? Their appeal, Marina Warner suggests, lies in how the stories' magic stimulates the creative activity of the imagination. Their popularity during the Enlightenment was no accident: dreams, projections, and fantasies are essential to making the leap beyond the frontiers of accepted knowledge into new scientific and literary spheres. The magical tradition, so long disavowed by Western rationality, underlies modernity's most characteristic developments, including the charmed states of brand-name luxury goods, paper money, and psychoanalytic dream interpretation.
In Warner's hands, the Nights reveal the underappreciated cultural exchanges between East and West, Islam and Christianity, and cast light on the magical underpinnings of contemporary experience, where mythical principles, as distinct from religious belief, enjoy growing acceptance. These tales meet the need for enchantment, in the safe guise of oriental costume.
Tobin Siebers raises a series of questions that "cross the wires" among ethical, aesthetic, and political definitions of the self, at once exposing our basic assumptions about these definitions and beginning the work of reconceiving them. The Subject and Other Subjects will broaden our ideas about the strange interplay between subjects and objects (and other subjects!) that characterizes modern identity, and so provoke lively debate among anthropologists, art historians, literary theorists, philosophers, and others concerned with how the question of the subject becomes entangled with ethics, aesthetics, and politics. As Siebers argues, the subject is in fact a tangled network of subjectivities, a matrix of identities inconceivable outside of symbols and stories.
Tobin Siebers is Professor of English at the University of Michigan, and author of Cold War Criticism and the Politics of Skepticism; Morals and Stories; The Ethics of Criticism; The Romantic Fantastic; and The Mirror of Medusa.
Since the 1950s, Abe Kōbō (1924–1993) has achieved an international reputation for his surreal or grotesque brand of avant-garde literature. From his early forays into science fiction to his more mature psychological novels and films, and finally the complicated experimental works produced near the end of his career, Abe weaves together a range of “voices”: the styles of science and the language of literary forms.
In Abe’s oeuvre, this stylistic interplay links questions of language and subjectivity with issues of national identity and technological development in a way that ultimately aspires to become the catalyst for an artistic revolution. While recognizing the disruptions such a revolution might entail, Abe’s texts embrace these disjunctions as a way of realizing radical new possibilities beyond everyday experience and everyday values.
By arguing that the crisis of identity and postwar anomie in Abe’s works is inseparable from the need to marshal these different scientific and literary voices, Christopher Bolton explores how this reconciliation of ideas and dialects is for Abe part of the process whereby texts and individuals form themselves—a search for identity that must take place at the level of the self and society at large.
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