Challenging the claim that Palestine’s peasant economy progressed during the 1920s and 1930s, Amos Nadan skillfully integrates a wide variety of sources to demonstrate that the period was actually one of deterioration on both the macro (per capita) and micro levels.
The economy would have most likely continued its downward spiral during the 1940s had it not been for the temporary prosperity that resulted from World War II. Nadan argues that this deterioration continued despite the British authorities’ channeling of funds from the Jewish sector and the wealthier Arab sectors into projects for the Arab rural economy. The British were hoping that Palestine’s peasants would not rebel if their economic conditions improved. These programs were, on the whole, defective because the British chose programs based on an assumption that the peasants were too ignorant to manage their farms wisely, instead of working with the peasants and their own institutions.
Since 1783, patriotic societies have become an integral part of American history. The great number of Sons, Daughters, and Dames, and the alphabetical jungle of G.A.R., D.A.R., V.F.W., U.C.V., U.D.C., W.R.D., etc. are well known--and are often subjects of controversy. Wallace Evan Davies here recounts, in fascinating detail, the activities and attitudes of both veterans' and hereditary patriotic societies in America up to 1900. In a lively manner, he explores their significance as social organizations, their concept of patriotism, and their influence upon public opinion and legislation.
At the close of the American Revolution a group of officers formed the first patriotic veterans' society, The Society of the Cincinnati--open to all officers who had served for three years or were in the army at the end of the Revolution. Thus it began. Then, after the Civil War, came the numerous organizations of veterans of both sides and of their relatives. And as some Americans became more nationalistic, others, becoming absorbed in family trees, started the many hereditary societies. After discussing the founding of men's, women's, and children's patriotic societies, the author describes their organizational aspects: their size, qualifications for membership, officers, dues, ritual, badges, costumes, and the like. In hereditary groups, membership wasdeliberately limited, for exclusiveness was often their strongest appeal. The veterans' groups, however, were usually anxious to be as large as possible so as to enhance their influence upon legislators.
The appearance, beginning in the 1860's, of nearly seventy patriotic newspapers and magazines testifies to the rising popularity of these groups: prominent publications of the patriotic press included The Great Republic, The Soldiers' Friend, The Grand Army Record, The Vedette, National Tribune, and American Tribune. Many people turned to patriotism as to a sort of secular religion in which their increasing differences--in national origin and in religious and cultural inheritance--could be submerged; many others joined these societies primarily for social reasons. Once members, however, all became devoted campaigners for such projects as pensions for veterans, care of war orphans, and popular observance of national patriotic holidays; they also took to the field over desecrations of the flag, sectional animosity, the teaching of history, immigration policy, labor disturbances, military instruction in schools, and expansionism.
In Patriotism on Parade we have a cross-section of American social and intellectual history for the period 1783-1900. In writing it, Davies quotes liberally from contemporary letters and newspapers which make lively reading, and he has had access to the many scrapbooks and voluminous papers of William McDowell--prominent in the founding of several hereditary groups--which shed new light on the early years of the D.A.R. and the S.A.R. in particular. His book will be read with interest by the general public, by historians, and especially by persons who have belonged to any of the organizations he describes.
A New Statesman Book of the Year
Winner of the Helen and Howard R. Marraro Prize
Winner of the Aldo and Jeanne Scaglione Prize for Italian Studies
“Extraordinary…I could not put it down.”
—Margaret MacMillan
“Reveals how ideology corrupts the truth, how untrammeled ambition destroys the soul, and how the vanity of white male supremacy distorts emotion, making even love a matter of state.”
—Sonia Purnell, author of A Woman of No Importance
When Attilio Teruzzi, a decorated military officer and early convert to the Fascist cause, married a rising American opera star, his good fortune seemed settled. The wedding was blessed by Mussolini himself. Yet only three years later, Teruzzi, now commander of the Black Shirts, renounced his wife. Lilliana was Jewish, and fascist Italy would soon introduce its first race laws.
The Perfect Fascist pivots from the intimate story of a tempestuous courtship and inconvenient marriage to the operatic spectacle of Mussolini’s rise and fall. It invites us to see in the vain, unscrupulous, fanatically loyal Attilio Teruzzi an exemplar of fascism’s New Man. Victoria De Grazia’s landmark history shows how the personal was always political in the fascist quest for manhood and power. In his self-serving pieties and intimate betrayals, his violence and opportunism, Teruzzi is a forefather of the illiberal politicians of today.
“The brilliance of de Grazia’s book lies in the way that she has made a page-turner of Teruzzi’s chaotic life, while providing a scholarly and engrossing portrait of the two decades of Fascist rule.”
—Caroline Moorhead, Wall Street Journal
“Original and important…A probing analysis of the fascist ‘strong man.’ De Grazia’s attention to Teruzzi’s private life, his behavior as suitor and husband, deepens and enriches our understanding of the nature of leadership in Mussolini’s regime and of masculinity, virility, and honor in Italian fascist culture.”
—Robert O. Paxton, author of The Anatomy of Fascism
“This is a perfect book!…Its two entwined narratives—one political and public, the other personal and private—help us understand why the personal is political for those who insist on reshaping people and society.”
—Azar Nafisi, author of Reading Lolita in Tehran
Fact and fiction meet at the boundaries, the betwixt and between where transformations occur. This is the area of ambiguity where fiction and fact become endowed with meaning, and this is the area—where ambiguity, irony, and metaphor join forces—that Harold Scheub exposes in all its nuanced and evocative complexity in The Poem in the Story.
In a career devoted to exploring the art of the African storyteller, Scheub has conducted some of the most interesting and provocative investigations into nonverbal aspects of storytelling, the complex relationship between artist and audience, and, most dramatically, the role played by poetry in storytelling. This book is his most daring effort yet, an unconventional work that searches out what makes a story artistically engaging and emotionally evocative, the metaphorical center that Scheub calls "the poem in the story." Drawing on extensive fieldwork in southern Africa and decades of experience as a researcher and teacher, Scheub develops an original approach—a blend of field notes, diary entries, photographs, and texts of stories and poems—that guides readers into a new way of viewing, even experiencing, meaning in a story. Though this work is largely focused on African storytelling, its universal applications emerge when Scheub brings the work of storytellers as different as Shakespeare and Faulkner into the discussion.
Carl Sandburg first encountered Kenneth Dodson through a letter written at sea during World War II. Though Dodson wrote the letter to his wife, Letha, Sandburg read it in tears and told her, "I've got to meet this man." Composed primarily of their correspondence that continued until Sandburg's death in 1967, The Poet and the Sailor is a chronicle of the deep friendship that followed. Ranging over anything they found important, from writing to health and humor, the letters are arranged by Richard Dodson and are accompanied by a foreword from Sandburg's noted biographer, Penelope Niven.
A searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect.
In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology.
The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors’ methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public’s confidence in the hierarchies of superiority and inferiority invented by “scientific” racism.
Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance.
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