In this follow up to his book, The Rule of Racialization—which considered the way class structure is formed in the U.S.—Steve Martinot now examines how the structures of racialization reside at the core of all social, cultural, and political institutions in the U.S. In The Machinery of Whiteness, Martinot examines how race and racism are produced in the United States, analyzing the politics of racialization, and the preponderance of racial segregation and racial deprivation that have kept the U.S. a white dominated society throughout its history. Martinot dedicates this work to expunging white supremacy from the earth.
The Machinery of Whiteness investigates how “whiteness” came to be as foundational to the process that then produced the modern concept of race. Martinot addresses the instrumentalization of women as a necessary step in its formation, furthering the debates regarding the relationships of race and gender. And he addresses U.S. international interventionism, the anti-immigrant movements, and white racist populism to describe the political forms that white supremacy takes.
Martinot puts these together to analyze the underlying cultural structures of racialization that have driven and conditioned the resurgence of white supremacy and white entitlement in the wake of the Civil Rights movements. This book is a call to transform the cultural structures of the U.S. to make justice and democracy, which depend on inclusion and not segregation, possible.
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.
To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.
Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
Philosopher-novelist Ayn Rand (1905–1982) is a cultural phenomenon. Her books have sold more than 25 million copies, and countless individuals speak of her writings as having significantly influenced their lives. In spite of the popular interest in her ideas, or perhaps because of it, Rand’s work has until recently received little serious attention from academics. Though best known among philosophers for her strong support of egoism in ethics and capitalism in politics, there is an increasingly widespread awareness of both the range and the systematic character of Rand’s philosophic thought. This new series, developed in conjunction with the Ayn Rand Society, an affiliated group of the American Philosophical Association, Eastern Division, seeks a fuller scholarly understanding of this highly original and influential thinker.
The first volume starts not with the metaphysical and epistemological fundamentals of Rand’s thought, but with central aspects of her ethical theory. Though her endorsement of ethical egoism is well-known—one of her most familiar essay collections is The Virtue of Selfishness—the character of her egoism is not. The chapters in this volume address the basis of her egoism in a virtue-centered normative ethics; her account of how moral norms in general are themselves based on a fundamental choice by an agent to value his own life; and how her own approach to the foundations of ethics is to be compared and contrasted with familiar approaches in the analytic ethical tradition. Philosophers interested in the objectivity of value, in the way ethical theory is (and is not) virtue-based, and in acquiring a serious understanding of an egoistic moral theory worthy of attention will find much to consider in this volume, which includes critical responses to several of its main essays.
The results and implications of Alan Tyson’s work on Mozart have had a profound impact on virtually every aspect of research on this composer: biography, chronology of compositions, working methods, stylistic analysis. Central, perhaps, are Tyson’s discoveries on chronology: time and again he has proved that datings, often of large, well-known works, that have been accepted for generations are not only erroneous but based on little more than speculation. This book assembles his major articles, previously scattered through magazines, journals, and festschrifts, plus two unpublished pieces, into a treasure trove for musicologists and music lovers.
Tyson’s investigations, using primarily paper analysis, span Mozart’s entire career and the full range of genres—string quartets, operas, choral music, keyboard music, concertos, and symphonies. He goes into the genesis of major works such as Cosi fan tutte, the “Prague” Symphony, the Piano Sonata K.333, the “Haydn” quartets, and La clemenza di Tito. His conclusions about chronology bear directly on biographical questions and current accounts of Mozart’s stylistic development as well as his compositional methods. We learn here, for example, that the “first” horn concerto was in fact Mozart’s last, and that he did not even complete the second movement, which was finished after his death by his pupil Süssmayr. The writing (and, in some cases, rewriting) of his later operas such as Figaro and Cosi fan tutte also lends itself to investigation by the same techniques; this is resulting in the rediscovery of some lost measures and little-known variant versions of arias.
Tyson’s style is clear and elegant, and the originality of his work and the soundness of his inferences make this book a pleasure.
The tradition of historical literature begun by Herodotus and Thucydides molded the early Greek novel. As the genre evolved, however, Greek novels moved away from their historical roots to become more heavily influenced by mythological traditions. Edmund Cueva's new book examines the literary uses to which the ancient novelists put their mythological material. His work offers a stimulating discussion of myths and their rise to prominence as the key feature of the fully developed Greek novel. He also takes into account the impact of the Roman conquest on the development of the Greek novel, the last true literary creation of the Greek world. The Myths of Fiction will interest scholars of Greek literarure, imperial history, literary myth, intertextuality, and comparative literature.
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