A SCHOLARLY BOOK REPOSITORY45 start with C start with C
Cairo Pop is the first book to examine the dominant popular music of Egypt, shababiyya. Scorned or ignored by scholars and older Egyptians alike, shababiyya plays incessantly in Cairo, even while Egyptian youth joined in mass protests against their government, which eventually helped oust longtime Egyptian president Hosni Mubarak in early 2011. Living in Cairo at the time of the revolution, Daniel Gilman saw, and more importantly heard, the impact that popular music can have on culture and politics. Here he contributes a richly ethnographic analysis of the relationship between mass-mediated popular music, modernity, and nationalism in the Arab world.
Before Cairo Pop, most scholarship on the popular music of Egypt focused on musiqa al-ṭarab. Immensely popular in the 1950s and ’60s and even into the ’70s, musiqa al-ṭarab adheres to Arabic musical theory, with non-Western scales based on tunings of the strings of the ‘ud—the lute that features prominently, nearly ubiquitously, in Arabic music. However, today one in five Egyptians is between the ages of 15 and 24; half the population is under the age of 25. And shababiyya is their music of choice. By speaking informally with dozens of everyday young people in Cairo, Gilman comes to understand shababiyya as more than just a musical genre: sometimes it is for dancing or seduction, other times it propels social activism, at others it is simply sonic junk food.
In addition to providing a clear Egyptian musical history as well as a succinct modern political history of the nation, Cairo Pop elevates the aural and visual aesthetic of shababiyya—and its role in the lives of a nation’s youth.
Nationalist superheroes—such as Captain America, Captain Canuck, and Union Jack—often signify the “nation-state” for readers, but how do these characters and comic books address issues of multiculturalism and geopolitical order? In his engaging book Captain America and the Nationalist Superhero, geographer Jason Dittmer traces the evolution of the comic book genre as it adapted to new national audiences. He argues that these iconic superheroes contribute to our contemporary understandings of national identity, the righteous use of power, and the role of the United States, Canada, and Britain in the world.
Tracing the nationalist superhero genre from its World War II origins to contemporary manifestations throughout the world, Captain America and the Nationalist Superhero analyzes nearly one thousand comic books and audience responses to those books. Dittmer also interviews key comic book writers from Stan Lee and J. M. DeMatteis to Steve Englehart and Paul Cornell.
At a time when popular culture is saturated with superheroes and their exploits, Captain America and the Nationalist Superhero highlights the unique relationship between popular culture and international relations.
Conjoined twins Chang and Eng Bunker have fascinated the world since the nineteenth century. In her captivating book, Chang and Eng Reconnected, Cynthia Wu traces the “Original Siamese Twins” through the terrain of American culture, showing how their inseparability underscored tensions between individuality and collectivity in the American popular imagination.
Using letters, medical documents and exhibits, literature, art, film, and family lore, Wu provides a trans-historical analysis that presents the Bunkers as both a material presence and as metaphor. She also shows how the twins figure in representations of race, disability, and science in fictional narratives about nation building.
As astute entrepreneurs, the twins managed their own lives; nonetheless, as Chang and Eng Reconnected shows, American culture has always viewed them through the multiple lenses of difference.
This edition features:
- Chicanas in the Chicano Movement and Chicanos since the Chicano Movement
- New material on popular authors such as Denise Chávez, Alfredo Vea, Luis Alberto Urrea, and Juan Felipe Herrera
- Suggested Readings to supplement each chapter
- Theoretical approaches to popular culture, including the perspectives of Norma Cantú, Alicia Gaspar de Alba, Pancho McFarland, Michelle Habell-Pallán, and Víctor Sorell
With clear examples, an engaging writing style, and helpful discussion questions, Chicano Popular Culture, Second Edition invites readers to discover and enjoy Mexican American popular culture.
Western observers who were impressed by the bravery of the demonstrators in Tiananmen Square—and stunned at the harshness of their suppression—will learn from this book how that political movement led to changes in cultural conditions and production. Attending to all the major elements of this vast nation’s high and low culture at the end of a landmark decade, Huot’s discussion ranges from the cinematic works of Zhang Yimou, Chen Kaige, and others to emerging musical forms such as rock, punk, and rap. Other topics include television, theater, and avant-garde art, the new electronic media, and subversive trends in both literature and the visual arts.
With a comprehensive index of artists and works, as well as a glossary of Chinese words, China’s New Cultural Scene will enlighten students of Chinese culture and general readers interested in contemporary Asia.
In this book, Sherman Cochran reconsiders the nature and role of consumer culture in the spread of cultural globalization. He moves beyond traditional debates over Western influence on non-Western cultures to examine the points where Chinese entrepreneurs and Chinese-owned businesses interacted with consumers. Focusing on the marketing of medicine, he shows how Chinese constructed consumer culture in China and Southeast Asia and extended it to local, national, and transnational levels. Through the use of advertisements, photographs, and maps, he illustrates the visual forms that Chinese enterprises adopted and the far-flung markets they reached.
Cochran brings to light enduring features of the Chinese experience with consumer culture. Surveying the period between the 1880s and the 1950s, he observes that Chinese businesses surpassed their Western counterparts in capturing Chinese and Southeast Asian sales of medicine in both peacetime and wartime. He provides revealing examples of Chinese entrepreneurs’ dealings with Chinese and Japanese political and military leaders, particularly during the Sino–Japanese War of 1937–45. The history of Chinese medicine men in pre-socialist China, he suggests, has relevance for the twenty-first century because they achieved goals—constructing a consumer culture, competing with Western-based corporations, forming business-government alliances, capturing national and transnational markets—that their successors in contemporary China are currently seeking to attain.
Tang uncovers crucial clues to modern Chinese literary and cultural practices through readings of Wu Jianren’s 1906 novel The Sea of Regret and works by canonical writers Lu Xun, Ding Ling, and Ba Jin. For the midcentury, he broadens his investigation by considering theatrical, cinematic, and visual materials in addition to literary texts. His reading of the 1963 play The Young Generation reveals the anxiety and terror underlying the exhilarating new socialist life portrayed on the stage. This play, enormously influential when it first appeared, illustrates the utopian vision of China’s lyrical age and its underlying discontents—both of which are critical for understanding late-twentieth-century China. Tang closes with an examination of post–Cultural Revolution nostalgia for the passion of the lyrical age.
Throughout Chinese Modern Tang suggests a historical and imaginative affinity between apparently separate literatures and cultures. He thus illuminates not only Chinese modernity but also the condition of modernity as a whole, particularly in light of the postmodern recognition that the market and commodity culture are both angel and devil. This elegantly written volume will be invaluable to students of China, Asian studies, literary criticism, and cultural studies, as well as to readers who study modernity.
Taylor examines some of the South's most significant cultural exports in discussions that range across literature, music, film, television, theater, advertising, and tourism to focus on how and why Southern themes and icons have become so deeply embedded in British cultural life. The enduring legacy of Margaret Mitchell's Gone With the Wind can be seen today in the popularity of sequels, revisions, and reworkings of the novel. The conversation between these cultures is further explored in British responses to Alex Haley's Roots, the British theater's special affection for Tennessee Williams's plays, and the marketing of New Orleans as a preferred destination for European tourists. The transformation of Southern culture--itself a hybrid of the European, African, and American--as it circulates back across the Atlantic suggests not only new views of the history, racial politics, music and art of both Britain and the American South, but also an enhanced understanding of the dynamic flow of culture itself.
Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males and
asserted their presence in the public domain.
An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.
A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.
Moving beyond well-known debates over Korean War POWs and iconic cultural texts like The Manchurian Candidate, Dunne explores the impact of the idea of brainwashing on popular concerns about freedom, individualism, loyalty, and trust in authority. By the late 1950s the concept had been appropriated into critiques of various aspects of American life such as an insistence on conformity, the alleged "softening" of American men, and rampant consumerism fueled by corporate advertising that used "hidden" or "subliminal" forms of persuasion. Because of these associations and growing anxieties about the potential misuse of psychology, concerns about brainwashing contributed to a new emphasis on individuality and skepticism toward authority in the 1960s. The notion even played an unusual role in the 1968 presidential race, when Republican frontrunner George Romney's claim that he had been "brainwashed" about the Vietnam War by the Johnson administration effectively destroyed his campaign.
In addition to analyzing the evolving meaning of brainwashing over an extended period of time, A Cold War State of Mind explores the class and gender implications of the idea, such as the assumption that working-class POWs were more susceptible to mind control and that women were more easily taken in by the manipulations of advertisers.
Commerce in Color exploresthe juncture of consumer culture and race by examining advertising, literary texts, mass culture, and public events in the United States from 1893 to 1933. James C. Davis takes up a remarkable range of subjects—including the crucial role publishers Boni and Liveright played in the marketing of Harlem Renaissance literature, Henry James’s critique of materialism in The American Scene, and the commodification of racialized popular culture in James Weldon Johnson’s The Autobiography of anEx-Colored Man—as he argues that racial thinking was central to the emergence of U.S. consumerism and, conversely, that an emerging consumer culture was a key element in the development of racial thinking and the consolidation of racial identity in America. By urging a reassessment of the familiar rubrics of the “culture of consumption” and the “culture of segregation,” Dawson poses new and provocative questions about American culture and social history.
Both an influential literary study and an absorbing historical read, Commerce in Color proves that—in America—advertising, publicity, and the development of the modern economy cannot be understood apart from the question of race.
“A welcome addition to existing scholarship, Davis’s study of the intersection of racial thinking and the emergence of consumer culture makes connections very few scholars have considered.”
—James Smethurst, University of Massachusetts
James C. Davis is Assistant Professor of English at Brooklyn College.
What is the “real Russia”? What is the relationship between national dreams and kitsch, between political and artistic utopia and everyday existence? Commonplaces of daily living would be perfect clues for those seeking to understand a culture. But all who write big books on Russian life confess their failure to get properly inside Russia, to understand its “doublespeak.”
Svetlana Boym is a unique guide. A member of the last Soviet Generation, the Russian equivalent of our Generation X, she grew up in Leningrad and has lived in the West for the past thirteen years. Her book provides a view of Russia that is historically informed, replete with unexpected detail, and everywhere stamped with authority. Alternating analysis with personal accounts of Russian life, Boym conveys the foreignness of Russia and examines its peculiar conceptions of private life and common good, of Culture and Trash, of sincerity and banality. Armed with a Dictionary of Untranslatable Terms, we step around Uncle Fedia asleep in the hall, surrounded by a puddle of urine, and enter the Communal Apartment, the central exhibit of the book. It is the ruin of the communal utopia and a unique institution of Soviet daily life; a model Soviet home and a breeding ground for grassroots informants. Here, privacy is forbidden; here the inhabitants defiantly treasure their bits of “domestic trash,” targets of ideological campaigns for the transformation (perestroika) of everyday life.
Against the Russian and Soviet myths of national destiny, the trivial, the ordinary, even the trashy, take on a utopian dimension. Boym studies Russian culture in a broad sense of the word; she ranges from nineteenth- and twentieth-century intellectual thought to art and popular culture. With her we go walking in Moscow and Leningrad, eavesdrop on domestic life, and discover jokes, films, and TV programs. Boym then reflects on the 1991 coup that marked the end of the Soviet Union and evoked fin-de-siècle apocalyptic visions. The book ends with a poignant reflection on the nature of communal utopia and nostalgia, on homesickness and the sickness of being home.
What are you drawn to like, to watch, or even to binge? What are you free to consume, and what do you become through consumption? These questions of desire and value, Kathryn Lofton argues, are questions for the study of religion. In eleven essays exploring soap and office cubicles, Britney Spears and the Kardashians, corporate culture and Goldman Sachs, Lofton shows the conceptual levers of religion in thinking about social modes of encounter, use, and longing. Wherever we see people articulate their dreams of and for the world, wherever we see those dreams organized into protocols, images, manuals, and contracts, we glimpse what the word “religion” allows us to describe and understand.
With great style and analytical acumen, Lofton offers the ultimate guide to religion and consumption in our capitalizing times.
The contributors examine how the people of Russia reconcile prerevolutionary elite culture—as well as the communist legacy—with the influx of popular influences from the West to build a society that no longer relies on a single dominant discourse and embraces the multiplicities of both public and private Russian life. Barker brings together Russian and American scholars from anthropology, history, literature, political science, sociology, and cultural studies. These experts fuse theoretical analysis with ethnographic research to analyze the rise of popular culture, covering topics as varied as post-Soviet rave culture, rock music, children and advertising, pyramid schemes, tattooing, pets, and spectator sports. They consider detective novels, anecdotes, issues of feminism and queer sexuality, nostalgia, the Russian cinema, and graffiti. Discussions of pornography, religious cults, and the deployment of Soviet ideological symbols as post-Soviet kitsch also help to demonstrate how the rebuilding of Russia’s political and economic infrastructure has been influenced by its citizens’ cultural production and consumption.
This volume will appeal to those engaged with post-Soviet studies, to anyone interested in the state of Russian society, and to readers more generally involved with the study of popular culture.
Contributors. Adele Marie Barker, Eliot Borenstein, Svetlana Boym, John Bushnell, Nancy Condee, Robert Edelman, Laurie Essig, Julia P. Friedman, Paul W. Goldschmidt, Judith Deutsch Kornblatt, Anna Krylova, Susan Larsen, Catharine Theimer Nepomnyaschy, Theresa Sabonis-Chafee, Tim Scholl, Adam Weiner, Alexei Yurchak, Elizabeth Kristofovich Zelensky
Geographic knowledge generated for the Cold War was a form of power, Farish argues, and it was given an urgency in the panels, advisory boards, and study groups established to address the challenges of an atomic world. He investigates how the scales of the city, the continent, the region, the globe, and, by extension, outer space, were brought together as strategic spaces, categories that provided a cartographic orientation for the Cold War and influenced military deployments, diplomacy, espionage, and finance.
Farish analyzes the surprising range of knowledge production involved in the project of claiming and classifying American space. Backed by military and intelligence funding, physicists and policy makers, soldiers and social scientists came together to study and shape the United States and its place in a divided world.
The contemporary Cool attitude is barely 50 years old, but its roots are older than that. Cool Rules traces Cool's ancient origins in European, Asian, and African cultures, its prominence in the African-American jazz scene of the 1940s, and its pivotal position within the radical subcultures of the 1950s and '60s. Pountain and Robins examine various art movements, music, cinema, and literature, moving from the dandies and flâneurs of the eighteenth and nineteenth centuries through to the expropriation of a whole cultural and psychological tradition by the media in the 1980s and '90s. What began as a rebellious posture adopted by minorities mutated to become mainstream itself. Cool is now primarily about consumption, as cynical advertisers have seized on it to create a constantly updated bricolage of styles and entertainments designed to affect the way people think about themselves and their society.
The phenomenon of the lyceum has commonly been characterized as inward looking and nationalistic. Yet as this collection of essays reveals, nineteenth-century audiences were fascinated by information from around the globe, and lecturers frequently spoke to their fellow Americans of their connection to the world beyond the nation and helped them understand "exotic" ways of life. Never simple in its engagement with cosmopolitan ideas, the lyceum provided a powerful public encounter with international currents and crosscurrents, foreshadowing the problems and paradoxes that continue to resonate in our globalized world.
This book offers a major reassessment of this important cultural phenomenon, bringing together diverse scholars from history, rhetoric, and literary studies. The twelve essays use a range of approaches, cover a wide chronological timespan, and discuss a variety of performers both famous and obscure. In addition to the volume editor, contributors include Robert Arbour, Thomas Augst, Susan Branson, Virginia Garnett, Peter Gibian, Sara Lampert, Angela Ray, Evan Roberts, Paul Stob, Mary Zboray, and Ronald Zboray.
Using the history of the cowboy story from 1820 to 1970 as an extended example, Alf H. Walle combines popular culture scholarship with marketing theory to provide a hybrid analysis. Wall examines major authors and genres of Western American literature and film; he also explores why certain respected authors were unable to significantly impact the cowboy story even though their innovations were embraced by later generations. Finally Wall provides a hybrid analysis combining business and popular culture theory in an overarching analysis.
Corresponding to a particular form of popular culture, each section features two essays, one by an African American scholar and one by a Latino/a scholar, as well as a short response by each scholar to the other’s essay. The essays and responses are lively, varied, and often personal. One contributor puts forth a “brown” theology of hip hop that celebrates hybridity, contradiction, and cultural miscegenation. Another analyzes the content of the message transmitted by African American evangelical preachers who have become popular sensations through television broadcasts, video distribution, and Internet promotions. The other essays include a theological reading of the Latina body, a consideration of the “authenticity” of representations of Jesus as white, a theological account of the popularity of telenovelas, and a reading of African American ideas of paradise in one of Toni Morrison’s novels. Creating Ourselves helps to make popular culture available as a resource for theology and religious studies and for facilitating meaningful discussions across racial and ethnic boundaries.
Contributors. Teresa Delgado, James H. Evans Jr., Joseph De León, Cheryl Kirk-Duggan, Angel F. Méndez Montoya, Alexander Nava, Anthony B. Pinn, Mayra Rivera, Suzanne E. Hoeferkamp Segovia, Benjamín Valentín, Jonathan L. Walton, Traci C. West, Nancy Lynne Westfield, Sheila F. Winborne
Creating Spaniards is a cultural and intellectual history that explains the intersection of politics and culture, and the formation of a national identity, during Spain’s Second Republic and Civil War. It counters recent scholarship claiming that leaders of the Second Republic had no programs for "inventing traditions" to encourage a Spanish national identity.
Focusing on the Second Republic, 1931–1936, Sandie Holguín illustrates how various intellectuals and politicians of the Republican–Socialist coalition used theater, literature, and film to aid the construction of a unified Spanish culture and history. She uses memoirs, journals, newspapers, parliamentary debates, and archival sources in her examination of the impact that cultural reforms had on the transformation of one of Europe’s oldest states.
A key participant in the major debates in Latin American studies—beginning with the “boom” period of the 1960s and continuing through debates on ideology and discourse, Marxism, mass culture, and postmodernism—Franco is recognized for her feminist critique of Latin American writing. While her principal books are all readily available, Franco’s several dozen articles are dispersed in a variety of periodicals in Latin America, Europe, and the United States. Although many of these essays are considered pioneering and classic, they have never before been collected in a single work. In this volume, Mary Louise Pratt and Kathleen Newman have organized the essays into four interrelated sections: feminism and the critique of authoritarianism, mass and popular culture, Latin American literature from the “boom” onward, and the cultural history of Mexico. As a group, these writings demonstrate Franco’s ability to reflect on and judge with equal seriousness all spheres of expression, whether subway graffiti, a fashion manual, or an avant-garde haiku. A bona fide fan of popular and mass media, Franco never allows her critiques to dissolve into the puritanical or reductive; instead, she finds ways to present and debate complex theoretical questions in direct and accessible language.
This volume will draw an extensive readership in Latin American, cultural, and women’s studies.
Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.
"Play it again, Sam" is the motto of cult film enthusiasts, who will watch their favorite movie over and over, "beyond all reason." What is the appeal of cult movies? Why do fans turn up in droves at midnight movies or sit through the same three-hanky classics from Hollywood's golden era? These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film.
The book identifies two basic types of cult films—older Hollywood movies, such as Casablanca, that have developed a cult following and "midnight movies," most notably The Rocky Horror Picture Show. Telotte, Bruce Kawin, and Timothy Corrigan offer thought-provoking discussions about why these two types of movies become cult films, the sort of audience they attract, and the needs they fulfill for that audience. Subsequent essays employ a variety of cultural, feminist, ideological, and poststructural strategies for exploring these films.
In a section on the classical cult film, the movie Casablanca receives extensive treatment. An essay by T. J. Ross considers Beat the Devil as a send-up of cult films, while another essay by Wade Jennings analyzes the cult star phenomenon as personified in Judy Garland.
"Midnight movie madness" is explored in essays on The Rocky Horror Picture Show, movie satires of the 1950s, science fiction double features, and horror thrillers.
Illustrated with scenes from favorite movies and written for both fans and scholars, The Cult Film Experience will appeal to a wider audience than the "usual suspects."
The essays fall into three general sections: the first treats the history of cultural institutions, highlighting the role of museums; the second section focuses on some literary, artistic, and entrepreneurial responses to the new mass culture; and the final group of essays explores the social history of art and architecture. Throughout Harris's diverse writings certain themes recur—the redefining of boundaries between high art and popular culture, the relationship between public taste and technological change, and the very notion of what constitutes a shared social experience. Harris's pioneering work has broadened the field of cultural history and encouraged whole new areas of inquiry. Cultural Excursions will be useful for those in American and culture studies, as well as for the general reader trying to make sense of the culture in which we live.
Although such artifacts are ubiquitous in contemporary culture, little attention has been paid to the impact of intellectual property law in everyday life or to how ownership of specific intellectual properties is determined and exercised. Drawing on a wide range of cases, disputes, and local struggles, Coombe examines these issues and dismantles the legal assumption that the meaning and value of a text or image is produced exclusively by an individual author or that authorship has a single point of origin. In the process, she examines controversies that include the service of turbanned Sikhs in the Royal Canadian Mounted Police and the use of the term Olympic in reference to the proposed gay Olympic Games. Other chapters discuss the appropriation of such celebrity images as the Marx brothers, Judy Garland, Dolly Parton, James Dean, and Luke Skywalker; the conflict over team names such as the Washington Redskins; and the opposition of indigenous peoples to stereotypical Native American insignia proffered by the entertainment industry. Ultimately, she makes a case for redefining the political in commodified cultural environments.
Significant for its insights into the political significance of current intellectual property law, this book also provides new perspectives on debates in cultural anthropology, cultural studies, and political theory. It will therefore interest both a wide scholarly and a general audience.
Valis finds evidence in literature, cultural objects, and popular customs to
argue that cursilería has its roots in a sense of cultural inadequacy felt by the lower middle classes in nineteenth- and early-twentieth-century Spain. The Spain of this era, popularly viewed as the European power most resistant to economic and social modernization, is characterized by Valis as suffering from nostalgia for a bygone, romanticized society that structured itself on strict class delineations. With the development of an economic middle class during the latter half of the nineteenth century, these designations began to break down, and individuals across all levels of the middle class exaggerated their own social status in an attempt to protect their cultural capital. While the resulting manifestations of cursilería were often provincial, indeed backward, the concept was—and still is—closely associated with a sense of home. Ultimately, Valis shows how cursilería embodied the disparity between old ways and new, and how in its awkward manners, airs of pretension, and graceless anxieties it represents Spain's uneasy surrender to the forces of modernity.
The Culture of Cursilería will interest students and scholars of Latin America, cultural studies, Spanish literature, and modernity.
Topics include: feminine processions and masculine parades; political activism and quietism in Shi’a rituals; civic socializing in Puritan New England; the circus and American culture; the Wild West shows; beauty pageants; theme parks; Bourbon Street, New Orleans; and Stonehenge.
Elana Levine brings together writings from feminist critics that chart the current terrain of feminized pop cultural production. Analyzing everything from Fifty Shades of Grey to Pinterest to pregnancy apps, contributors examine the economic, technological, representational, and experiential dimensions of products and phenomena that speak to, and about, the feminine. As these essays show, the imperative of productivity currently permeating feminized pop culture has created a generation of texts that speak as much to women's roles as public and private workers as to an impulse for fantasy or escape.
Incisive and compelling, Cupcakes, Pinterest, and Ladyporn sheds new light on contemporary women's engagement with an array of media forms in the context of postfeminist culture and neoliberalism.
This volume argues that a small, loosely connected group of men constituted an informal museum movement in America from about 1740 to 1870.
As they formed their pioneer museums, these men were guided not so much by European examples, but rather by the imperatives of the American democratic culture, including the Enlightenment, the simultaneous decline of the respectability and rise of the middle classes, the Age of Egalitarianism, and the advent of professionalism in the sciences. Thus the pre-1870 American museum was neither the frivolous sideshow some critics have imagined, nor the enclave for elitists that others have charged. Instead, the proprietors displayed serious motives and egalitarian aspirations.
The conflicting demands for popular education on the one hand and professionalism on the other were a continuing source of tension in American museums after about 1835, but by 1870 the two claims had synthesized into a rough parity. This synthesis, the "American Compromise," has remained the basic model of museums in America down to the present. Thus, by 1870, the form of the modern American museum as an institution which simultaneously provides popular education and promotes scholarly research was completely developed.
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