Ten years ago Philosophy in the Classroom, by Lipman, Sharp, and Oscanyan, hailed the emergence of philosophy as a novel, although in some ways highly traditional, elementary school discipline. In this sequel, Matthew Lipman examines the impact that elementary school philosophy has had, and may yet have, upon the process of education. Going beyond his earlier work to describe the contribution that training in philosophy can make in the teaching of values, he shows the applications of ethics in civics education and the ways in which aesthetics can be incorporated into areas of the curriculum related to the development of creativity.

Making reference to the contemporary educational scene, Lipman compares the K-12 Philosophy for Children curriculum to the many unsatisfactory solutions being offered in our current drive for educational excellence. He addresses the relationship of elementary school philosophy to educational reform in the areas of science, language, social studies, and writing. And he shows how philosophy can be instrumental in the difficult task of teaching values to children while avoiding both ideological indoctrination and mindless relativism.

The idea for Philosophy in a Time of Terror was born hours after the attacks on 9/11 and was realized just weeks later when Giovanna Borradori sat down with Jürgen Habermas and Jacques Derrida in New York City, in separate interviews, to evaluate the significance of the most destructive terrorist act ever perpetrated. This book marks an unprecedented encounter between two of the most influential thinkers of our age as here, for the first time, Habermas and Derrida overcome their mutual antagonism and agree to appear side by side. As the two philosophers disassemble and reassemble what we think we know about terrorism, they break from the familiar social and political rhetoric increasingly polarized between good and evil. In this process, we watch two of the greatest intellects of the century at work.

This is a textbook for teachers that demonstrates how philosophical thinking can be used in teaching children. It begins with the assumption that what is taught in schools is not (and should not be) subject matter but rather ways of thinking. The main point is that the classroom should be converted into a community of inquiry, and that one can begin doing that with children. Based on the curriculum that Matt Lipman has developed at the Institute for the Advancement of Philosophy for Children, which he heads, this book describes the curriculum and explains its use. The text is self-contained, however.

This revision is thorough-going and incorporates new chapters, as well as new material in old chapters. Part One focuses on the need of educational change and the importance of philosophical inquiry in developing new approaches. Part Two discusses curriculum and teaching methodology, including teacher behavior conducive to helping children. Part Three deals with developing logic skills and moral judgment. It concludes with a chapter on the sorts of philosophical themes pertinent to ethical inquiry for children: the right and the fair, perfect and right, free will and determinism, change and growth, truth, caring, standards and rules, thinking and thinking for oneself. Education, in this sense, is not a matter of dispensing information; it is the process of assisting in the growth of the whole individual.

From the rise of formalist novels that championed the heroism of the individual to the proliferation of abstract art as a counter to socialist realism, the years of the Cold War had a profound impact on American intellectual life. As John McCumber shows in this fascinating account, philosophy, too, was hit hard by the Red Scare. Detailing the immense political pressures that reshaped philosophy departments in midcentury America, he shows just how radically politics can alter the course of intellectual history.  
           
McCumber begins with the story of Max Otto, whose appointment to the UCLA Philosophy Department in 1947 was met with widespread protest charging him as an atheist. Drawing on Otto’s case, McCumber details the hugely successful conservative efforts that, by 1960, had all but banished the existentialist and pragmatist paradigms—not to mention Marxism—from philosophy departments all across the country, replacing them with an approach that valorized scientific objectivity and free markets and which downplayed the anti-theistic implications of modern thought. As he shows, while there have since been many instances of definitive and even explosive rejection of this conservative trend, its effects can still be seen at American universities today.

Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms “sonic Afro-modernity.” He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity—among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.

Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong’s voice to DJ mixing techniques to Darnell Martin’s 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more.

As the United States nears the twenty-first century, many of its citizens are troubled by the sense that something is wrong. Even though it is argued that our national situation is good, there persists the widespread feeling that somehow we are on the wrong social and historical track. It is the contention of this book that much of this dis-ease stems from our construction of a phony culture, a culture dominated by the value of the confidence man and woman.

In Spring 1938, an Indian dancer named Ram Gopal and an American writer-photographer named Carl Van Vechten came together for a photoshoot in New York City. Ram Gopal was a pioneer of classical Indian dance and Van Vechten was reputed as a prominent white patron of the African-American movement called the Harlem Renaissance. Photo-Attractions describes the interpersonal desires and expectations of the two men that took shape when the dancer took pose in exotic costumes in front of Van Vechten’s Leica camera. The spectacular images provide a rare and compelling record of an underrepresented history of transcultural exchanges during the interwar years of early-20th century, made briefly visible through photography.
 
Art historian Ajay Sinha uses these hitherto unpublished photographs and archival research to raise provocative and important questions about photographic technology, colonial histories, race, sexuality and transcultural desires. Challenging the assumption that Gopal was merely objectified by Van Vechten’s Orientalist gaze, he explores the ways in which the Indian dancer co-authored the photos. In Sinha’s reading, Van Vechten’s New York studio becomes a promiscuous contact zone between world cultures, where a “photo-erotic” triangle is formed between the American photographer, Indian dancer, and German camera.
 
A groundbreaking study of global modernity, Photo-Attractions brings scholarship on American photography, literature, race and sexual economies into conversation with work on South Asian visual culture, dance, and gender. In these remarkable historical documents, it locates the pleasure taken in cultural difference that still resonates today.

In A Photographer’s Guide to Ohio Ian Adams, Ohio’s foremost landscape photographer, guides you to some of the most photogenic sites in the Buckeye State. With 3,600 buildings on the National Register of Historic Places, more than 120 state parks and nature preserves, and the world’s largest Amish community, Ohio’s photographic subjects are nearly endless. In more than 150 color photographs, Adams shows you how to capture the beauty of the seasons when photographing Ohio’s scenic vistas, nature preserves, waterfalls, public gardens, historic barns and bridges, landmark buildings, and town murals. Accompanied by regional maps, each entry includes clear directions and GPS locations, related websites, and historical facts about the area, as well as Adams’s detailed suggestions for capturing the best images. Both beginners and experienced photographers will find expert guidance in Adams’s clear advice on digital landscape photography and will be inspired to create their own stunning Ohio scenic images.

An illustrated account of the life and work of the pioneering photographer
 
The Photographic Legacy of Frances Benjamin Johnston (1864–1952) draws on original papers and photographs from the Library of Congress to document the extraordinary life and nearly seventy-year career of this pioneering photographer. Maria Elizabeth Ausherman illuminates the early origins of Johnston’s style and vision, and her attempts to change society through her art. One of the first women to work in an emerging field dominated by men, Johnston achieved acclaim as an accomplished photographer and photojournalist.

As the official White House photographer for five administrations, she was instrumental in defining the medium and inspiring women to train in and appreciate photography. But it is her monumental nine-state survey of southern American architecture that stands as her most significant contribution to the history and development of photography both as art and as documentary. Through her photography, Johnston showed reverence for the beautiful historic buildings she appreciated and also helped shape architectural and photographic preservation in the United States.
 

A retrospective survey of Bruce Harkness’s striking social documentary photographs and an invaluable historical record that bears witness to irrevocably lost swaths of Detroit’s social and urban fabric.

In 1980, the cities of Detroit and Hamtramck, Michigan, exercised eminent domain to develop nearly five hundred acres of land for a new industrial park and General Motors assembly plant. But the land was not vacant. Some thirty-five hundred people lived there in Poletown—some of them for their entire lives. They attended neighborhood schools and churches, worked for and patronized small businesses, walked the sidewalks, drove the streets, and tended to lawns and gardens. Harkness began photographing the area in February 1981. He recorded street scenes, intersections, panoramic views, homes, businesses, churches, and people. Ten months, ninety visits, and six hundred photographs later, it all disappeared forever.

The Poletown series established Harkness as a major Detroit documentarian. It came on the heels of late-1970s projects located in and around the city’s skid row: Cass Corridor. The images include gritty streetscapes, a portrait series depicting residents living in a crumbling apartment building, and the lively cultural milieu of a local gay and transgender bar. Most of this old portion of inner-city Detroit since has been supplanted by urban redevelopment and gentrification.

During the late 1980s, Harkness collaborated with urban historian John J. Bukowczyk on a major documentary project, Urban Interiors. While the Poletown project had documented the exteriors of buildings and streetscapes on Detroit’s East Side, Urban Interiors captured the insides of inner-city Detroit homes and businesses and included extended oral history interviews.

While Harkness has always found human dignity and resilience in his subjects, the tone of his work brightened in the 1990s alongside Detroit’s revival. Photographs from this era include blues musicians performing in clubs and at outdoor concerts and the distinctive, robust youth culture that flourished in Dearborn’s now-defunct Zone Coffee House.

Featuring images from these and other projects, Photographs from Detroit, 1975–2019 includes Harkness’s extensive notes, which describe and contextualize the encounters he shared with the people and places he photographed, and offer insight into his working methods and equipment. The volume and quality of Harkness’s work merits him recognition as one of Detroit’s most important documentary photographers during this pivotal, transitional era in the city’s history.

Harkness’s images depict the struggles and resilience of ordinary individuals and families in working-class communities who together have indelibly shaped the spirit of Detroit. This book is a must-have for Detroiters past and present as well as historians, anthropologists, social documentary advocates, and photobook collectors everywhere.

This book is the first to question both why and how the colonialist mythologies represented by the work of photographer Eliot Elisofon persist. It documents and discusses a heterogeneous practice of American coloniality of power as it explores Elisofon’s career as war photographer-correspondent and staff photographer for LIFE, filmmaker, author, artist, and collector of “primitive art” and sculpture. It focuses on three areas: Elisofon’s narcissism, voyeurism, and sexism; his involvement in the homogenizing of Western social orders and colonial legacies; and his enthused mission of “sending home” a mass of still-life photographs, annexed African artifacts, and assumed vintage knowledge. The book does not challenge his artistic merit or his fascinating personality; what it does question is his production and imagining of “difference.” As the text travels from World War II to colonialism, postcolonialism, and the Cold War, from Casablanca to Leopoldville (Kinshasa), it proves to be a necessarily strenuous and provocative trip.
 

Through a rich interpretation of the remarkable photographs W. E. B. Du Bois compiled for the American Negro Exhibit at the 1900 Paris Exposition, Shawn Michelle Smith reveals the visual dimension of the color line that Du Bois famously called “the problem of the twentieth century.” Du Bois’s prize-winning exhibit consisted of three albums together containing 363 black-and-white photographs, mostly of middle-class African Americans from Atlanta and other parts of Georgia. Smith provides an extensive analysis of the images, the antiracist message Du Bois conveyed by collecting and displaying them, and their connection to his critical thought. She contends that Du Bois was an early visual theorist of race and racism and demonstrates how such an understanding makes the important concepts he developed—including double consciousness, the color line, the Veil, and second sight—available to visual culture and African American studies scholars in powerful new ways.

Smith reads Du Bois’s photographs in relation to other turn-of-the-century images such as scientific typologies, criminal mugshots, racist caricatures, and lynching photographs. By juxtaposing these images with reproductions from Du Bois’s exhibition archive, Smith shows how Du Bois deliberately challenged racist representations of African Americans. Emphasizing the importance of comparing multiple visual archives, Photography on the Color Line reinvigorates understandings of the stakes of representation and the fundamental connections between race and visual culture in the United States.

Physicians and Hospitals addresses an issue of concern and one of fundamental importance to the American health care system. While the ranks of physicians continue to swell and hospitals continue to expand their facilities, federal, state, and local governments remain determined to control health care expenditures. As a result, checks on the supply of services and facilities have been implemented that strain the physician-hospital relationship, often placing physicians and hospital administrations in conflict. The implications for American health care are the subject of disagreement and vigorous debate.

This book recasts nursing history and places it in the context of women’s history, labor history, medical history, and sociology. Removed from the limited framework of professionalization, nursing history can provide a fresh perspective on broader issues in social history. First, it offers an illuminating example of the ways in which gender informs work and, conversely. How work reproduces and transforms relationships of power and inequality.

Second, the experience of nurses adds a new dimension to our understanding of work. More than a study of professionalization, nursing history is the story of women workers’ experience in a rationalizing service industry. Like other workers, nurses faced a fundamental reorganization of work that changed the content and experience of nursing. But unlike many others, they did not suffer a dilution of skill. The book also explores the shifting configurations of social relations on the job and their implications for nurses’ work.

Third, nurses’ history provides a useful standpoint for analyzing the possibilities and limitations of women’s work.

Finally, nursing history alerts us to the complexities of working women’s consciousness, countering the common notion of women’s passivity in the workplace.

The Physician’s Hand traces nursing history from the twenties to the seventies. It begins just after World War I when the "trained nurse" had gained a secure place in medical care but not yet found a niche in the hospital. Most worked in private duty. Chapter 1 outlines the theoretical framework of professionalization. Chapter 2 examines the history and culture of hospital schools, and the following chapters focus on the changing structure and experience of nursing in its three major settings: private duty nursing, public health care, and hospital work. The conclusion weighs the competing traditions of professionalization and occupational culture in nurses’ history and their meaning for the current crisis in nursing.

Martin Ritt has been hailed as the United States’s greatest maker of social films. From No Down Payment early in his career to Stanley and Iris, his last production, he delineated the nuances of American society. In between were other social statements such as Hud, Sounder, The Spy Who Came In From the Cold, Norma Rae, and The Great White Hope.

Arkansas's Old State House, arguably the most famous building in the state, was conceived during the territorial period and has served through statehood. A History of Arkansas's Old State House traces the history of the architecture and purposes of the remarkable building. The history begins with Gov. John Pope's ideas for a symbolic state house for Arkansas and continues through the construction years and an expansion in 1885. After years of deterioration, the building was abandoned by the state government, and the Old State House then became a medical school and office building. Kwas traces the subsequent fight for the building's preservation on to its use today as a popular museum of Arkansas history and culture. Brief biographies of secretaries of state, preservationists, caretakers, and others are included, and the book is generously illustrated with early and seldom-seen photographs, drawings, and memorabilia.

Moving pictures existed for over a decade before anything resembling a star system appeared. Then, within the space of a very few years, American cinema went from being completely devoid of stars to being completely dependent on them. Picture Personalities is an invaluable account of this crucial development in cinema and modern culture.
 
Conventional wisdom attributes the rise of the star system to the charisma of individual performers or to the public's desire to idolize an appealing star. In Picture Personalities, Richard deCordova argues that the fledgling movie industry and the press conspired to develop the star system, along with a system of discourse to support it.
 
How actors became stars and how they began to assume public identities distinct from their fictional roles was closely tied to the journalistic discourse of the period, produced by the trade press, newspapers, general periodicals, fan magazines, publicity stills, posters, and other material. DeCordova shows how the studios worked to fabricate moral images of the stars' marriages and personal lives and how a series of star scandals in the 1920s challenged those images and brought about changes in the conventions of representing stars. A new foreword by Corey K. Creekmur enhances this first paperback edition.
 

Pictures and Progress explores how, during the nineteenth century and the early twentieth, prominent African American intellectuals and activists understood photography's power to shape perceptions about race and employed the new medium in their quest for social and political justice. They sought both to counter widely circulating racist imagery and to use self-representation as a means of empowerment. In this collection of essays, scholars from various disciplines consider figures including Frederick Douglass, Sojourner Truth, Ida B. Wells, Paul Laurence Dunbar, and W. E. B. Du Bois as important and innovative theorists and practitioners of photography. In addition, brief interpretive essays, or "snapshots," highlight and analyze the work of four early African American photographers. Featuring more than seventy images, Pictures and Progress brings to light the wide-ranging practices of early African American photography, as well as the effects of photography on racialized thinking.

Contributors. Michael A. Chaney, Cheryl Finley, P. Gabrielle Foreman, Ginger Hill, Leigh Raiford, Augusta Rohrbach, Ray Sapirstein, Suzanne N. Schneider, Shawn Michelle Smith, Laura Wexler, Maurice O. Wallace

For more than forty years Bruce Jackson has been documenting—in books, photographs, audio recording, and film—inmates’ lives in American prisons. In November, 1975, he acquired a collection of old ID photos while he was visiting the Cummins Unit, a state prison farm in Arkansas. They are published together for the first time in this remarkable book.

The 121 images that appear here were likely taken between 1915 and 1940. As Jackson describes in an absorbing introduction, the function of these photos was not portraiture—their function was to “fold a person into the controlled space of a dossier.” Here, freed from their prison “jackets,” and printed at sizes far larger than their originals, these one-time ID photos have now become portraits. Jackson’s restoration transforms what were small bureaucratic artifacts into moving images of real men and women.

Pictures from a Drawer also contains an extraordinary description of everyday life at Cummins prison in the 1950s, written originally by hand and presented to Jackson in 1973 by its author, a long-time inmate.

The history of American art is a history of objects, but it is also a history of ideas about how we create and consume these objects. As Picturing convincingly shows, the critical tradition in American art has given rise to profound thinking about the nature and capacity of images and formed responses to some of most pressing problems of picturing: What is an image, and why make one? What do images do?
           
The first volume in a new series on critical concerns in the history of American art, Picturing brings together essays by a distinguished international group of scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge’s nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays’ considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition.

With a wealth of new research and full-color illustrations, Picturing significantly expands the terrain of scholarship on American art.

Instructive, amusing, colorful—pictorial maps have been used and admired since the first medieval cartographer put pen to paper depicting mountains and trees across countries, people and objects around margins, and sea monsters in oceans. More recent generations of pictorial map artists have continued that traditional mixture of whimsy and fact, combining cartographic elements with text and images and featuring bold and arresting designs, bright and cheerful colors, and lively detail. In the United States, the art form flourished from the 1920s through the 1970s, when thousands of innovative maps were mass-produced for use as advertisements and decorative objects—the golden age of American pictorial maps.
 
Picturing America is the first book to showcase this vivid and popular genre of maps. Geographer Stephen J. Hornsby gathers together 158 delightful pictorial jewels, most drawn from the extensive collections of the Library of Congress. In his informative introduction, Hornsby outlines the development of the cartographic form, identifies several representative artists, describes the process of creating a pictorial map, and considers the significance of the form in the history of Western cartography. Organized into six thematic sections, Picturing America covers a vast swath of the pictorial map tradition during its golden age, ranging from “Maps to Amuse” to “Maps for War.” Hornsby has unearthed the most fascinating and visually striking maps the United States has to offer: Disney cartoon maps, college campus maps, kooky state tourism ads, World War II promotional posters, and many more. This remarkable, charming volume’s glorious full­-color pictorial maps will be irresistible to any map lover or armchair traveler.

In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories.

Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.

In this richly illustrated book, Robert Macieski examines Lewis W. Hine's art and advocacy on behalf of child laborers as part of the National Child Labor Committee (NCLC) between 1909 and 1917. A "social photographer"—as he called himself—Hine created images that documented children at work throughout New England, revealing their exploitation in the North as he had for rural working children in the South. Hine staged his images, highlighting particular types of labor in specific places: the "newsies" in Connecticut cities; sardine canners in Eastport, Maine; cranberry pickers in Cape Cod bogs; industrial homeworkers in Boston and Providence; and cotton textile workers throughout the region. His association with the NCLC connected him to a network of local and national reformers, social workers, and child welfare professionals, a broad coalition he supported in their fight to end this unethical labor practice. Macieski also chronicles Hine's efforts to mount major exhibitions that would help move public opinion against child labor.

In Picturing Class, Macieski explores the historical context of Hine's photographs and the social worlds of his subjects. He offers a detailed analysis of many of the images, unearthing the stories behind the creation of these photographs and the lives of their subjects. In telling the story of these photographs, their creation, and their reception, Macieski demonstrates how Hine worked to advance an unvarnished picture of a rapidly changing region and the young workers at the center of this important shift.

At the outset of the twentieth century the debut of the American picture postcard incited widespread enthusiasm for collecting and sending postcard art that lasted decades. In Picturing Illinois, John A. Jakle and Keith A. Sculle examine a diverse set of 200 vintage Illinois picture postcards revealing what locals considered captivating, compelling, and commemorable. They also interpret how individual messages impart the sender's personal perception of local geography and scenery. Jakle and Sculle follow the dialogue between urban Chicago and rural downstate, elucidating the postcard's significance in popular culture and the unique ways in which Illinoisans pictured their world.

There was a time in America when two men pictured with their arms wrapped around each other, or perhaps holding hands, weren’t necessarily seen as sexually involved—a time when such gestures could be seen simply as those of intimate friendship rather than homoeroticism. 

Such is the time John Ibson evokes in Picturing Men, a striking visual record of changes in attitudes about relationships between gentlemen, soldiers, cowboys, students, lumberjacks, sailors, and practical jokers. Spanning from 1850 to 1950, the 142 everyday photographs that richly illustrate Picturing Men radiate playfulness, humor, and warmth. They portray a lost world for American men: a time when their relationships with each other were more intimate than they commonly are today, regardless of sexual orientation. Picturing Men starkly contrasts the calm affection displayed in earlier photographs with the absence of intimacy in photos from the mid-1950s on. In doing so, this lively, accessible book makes a significant contribution to American history and cultural studies, gender studies, and the history of photography.

At the heart of the model minority myth—often associated with Asian Americans—is the concept of civility. In this groundbreaking book, Picturing Model Citizens, Thy Phu exposes the complex links between civility and citizenship, and argues that civility plays a crucial role in constructing Asian American citizenship.

Featuring works by Arnold Genthe, Carl Iwasaki, Toyo Miyatake, Nick Ut, and others, Picturing Model Citizens traces the trope of civility from the nineteenth to the twenty-first centuries. Through an examination of photographs of Chinese immigrants, Japanese internment camps, the Hiroshima Maidens project, napalm victims, and the SARS epidemic, Phu explores civility's unexpected appearance in images that draw on discourses of intimacy, cultivation, apology, and hygiene. She reveals how Asian American visual culture illustrates not only cultural ideas of civility, but also contests the contradictions of state-defined citizenship.

 

Sabino Canyon, a desert canyon in the American Southwest near Tucson, Arizona, is enjoyed yearly by thousands of city residents as well as visitors from around the world. Picturing Sabino tells the story of the canyon’s transformation from a barely known oasis, miles from a small nineteenth-century town, into an immensely popular recreation area on the edge of a modern metropolis. Covering a century of change, from 1885 to 1985, this work rejoices in the canyon’s natural beauty and also relates the ups and downs of its protection and enjoyment.

The story is vividly told through numerous historical photographs, lively anecdotes, and an engaging text, informed by decades of research by David Wentworth Lazaroff. Along the way the reader makes the acquaintance of ordinary picnickers as well as influential citizens who helped to reshape the canyon, while witnessing the canyon’s evolving relationship with its growing urban neighbor. The book will fascinate readers who are already familiar with Sabino Canyon, as well as anyone with an interest in local or regional history, or in historical photography.

Mexican-American life, like that of nearly every contemporary community, has been extensively photographed. Yet there is surprisingly little scholarship on Chicano photography. Picturing the Barrio presents the first book-length examination on the topic. David William Foster analyzes the imagery of ten distinctive artists who offer a range of approaches to portraying Chicano life. The production of each artist is examined as an ideological interpretation of how Chicano experience is constructed and interpreted through the medium of photography, in sites ranging from the traditional barrio to large metropolitan societies. These photographers present artistic as well as documentary images of the socially invisible. They and their subjects grapple with definitions of identity, as well as ethnicity and gender. As such, this study deepens our understanding of the many interpretations of the “Chicano experience.”

Given their tendency to splinter over tactics and goals, social movements are rarely unified. Following the modern Western animal rights movement over thirty years, Corey Lee Wrennapplies the sociological theory of Bourdieu, Goffman, Weber, and contemporary social movement researchers to examine structural conditions in the animal rights movement, facilitating factionalism in today’s era of professionalized advocacy.

Modern social movements are dominated by bureaucratically oriented nonprofits, a special arrangement that creates tension between activists and movement elites who compete for success in a corporate political arena. Piecemeal Protest examines the impact of nonprofitization on factionalism and a movement’s ability to mobilize, resonate, and succeed. Wrenn’sexhaustive analysis of archival movement literature and exclusive interviews with movement leaders illustrate how entities with greater symbolic capital are positioned to monopolize claims-making, disempower competitors, and replicate hegemonic power, eroding democratic access to dialogue and decision-making essential for movement health.

Piecemeal Protest examines social movement behavior shaped by capitalist ideologies and state interests. As power concentrates to the disadvantage of marginalized factions in the modern social movement arena, Piecemeal Protest shines light on processes of factionalism and considers how, in the age of nonprofits, intra-movement inequality could stifle social progress.

For pious converts to Christianity in late eighteenth- and early nineteenth-century New England, all reality was shaped by religious devotion and biblical text. It is therefore not surprising that earnest believers who found themselves marginalized by their race or sex relied on their faith to reconcile the tension between the spiritual experience of rebirth and the social ordeal of exclusion and injustice. In Piety and Dissent, Eileen Razzari Elrod examines the religious autobiographies of six early Americans who represented various sorts of marginality: John Marrant, Olaudah Equiano, and Jarena Lee, all of African or African American heritage; Samson Occom (Mohegan) and William Apess (Pequot); and Abigail Abbott Bailey, a white woman who was subjected to extreme domestic violence. Through close readings of these personal narratives, Elrod uncovers the complex rhetorical strategies employed by pious outsiders to challenge the particular kinds of oppression each experienced. She identifies recurrent ideals and images drawn from Scripture and Protestant tradition—parables of liberation, rage, justice, and opposition to authority—that allowed them to see resistance as a religious act and, more than that, imbued them with a sense of agency. What the life stories of these six individuals reveal, according to Elrod, is that conventional Christianity in early America was not the hegemonic force that church leaders at the time imagined, and that many people since have believed it to be. Nor was there a clear distinction between personal piety and religious, social, and political resistance. To understand fully the role of religion in the early period of American letters, we must rethink some of our most fundamental assumptions about the function of Christian faith in the context of individual lives.

The long awaited new edition of a classic offers memories, myths, and meanings of the largest contiguous piece of wild land in Michigan's Lower Peninsula.

This updated edition explores more deeply why and how the outdoors moves and compels us. It’s a book about mice who sing, elk who wear collars, deer who kiss, and birds who could dictate their compositions to Mozart. It's about the human species interacting in generous and sometimes misguided ways with the rest of life. It's about men trying to ripen pinecones into pineapples and women taking better aim with a revolver than expected. It's about poetry—from Mary Oliver, Lao Tzu, and Theodore Roethke—and seeing hawks dive in a night sky or feeling oil geologists shake the earth below. It's about finding fish dead in the river by the thousands and crouching behind a stump to watch beaver build a dwelling. While this book considers life beyond the boundaries of Pigeon River Country, it is steeped in the specifics of a place that lives mostly on its own, instead of human, terms.

The Pigeon River Country is a remote northern forest, ecologically distinct from most of the United States. Laced with waterways, it has a storied past. Dale Clarke Franz has collected personal accounts from various people intrigued with the Pigeon River Country—including loggers, conservationists, mill workers, campers, even the young Ernest Hemingway, who said he loved the forest "better than anything in the world." There are comprehensive discussions of the area's flora and fauna, guides to trails and camping sites, and photos showcasing the changing face of this hidden national treasure.

Cast as the ultimate hardhats, football players of the 1960s seemed to personify a crewcut traditional manhood that channeled the Puritan work ethic. Yet, despite a social upheaval against such virtues, the National Football League won over all of America—and became a cultural force that recast politics in its own smashmouth image. Jesse Berrett explores pro football's new place in the zeitgeist of the 1960s and 1970s. The NFL's brilliant harnessing of the sports-media complex, combined with a nimble curation of its official line, brought different visions of the same game to both Main Street and the ivory tower. Politicians, meanwhile, spouted gridiron jargon as their handlers co-opted the NFL's gift for spectacle and mythmaking to shape a potent new politics that in essence became pro football. Governing, entertainment, news, elections, celebrity--all put aside old loyalties to pursue the mass audience captured by the NFL's alchemy of presentation, television, and high-stepping style. An invigorating appraisal of a dynamic era, Pigskin Nation reveals how pro football created the template for a future that became our present.

In A Pikes Peak Partnership, historians Tom Noel and Cathleen Norman tell the incredible tale of the two families who transformed Colorado Springs and its environs into a tourist haven. By building the Broadmoor Hotel and other important facilities to attract travelers, Spencer Penrose, who once proclaimed that "any man who works after lunch is a fool," made the Pikes Peak region a pleasure seeker's paradise.

A star par excellence, Dolly Parton is one of country music’s most likable personalities. Even a hard-rocking punk or orchestral aesthete can’t help cracking a smile or singing along with songs like “Jolene” and “9 to 5.” More than a mere singer or actress, Parton is a true cultural phenomenon, immediately recognizable and beloved for her talent, tinkling laugh, and steel magnolia spirit. She is also the only female star to have her own themed amusement park: Dollywood in Pigeon Forge, Tennessee. Every year thousands of fans flock to Dollywood to celebrate the icon, and Helen Morales is one of those fans.

In Pilgrimage to Dollywood, Morales sets out to discover Parton’s Tennessee. Her travels begin at the top celebrity pilgrimage site of Elvis Presley’s Graceland, then take her to Loretta Lynn’s ranch in Hurricane Mills; the Country Music Hall of Fame and the Grand Ole Opry in Nashville; to Sevierville, Gatlinburg, and the Great Smoky Mountains National Park; and finally to Pigeon Forge, home of the “Dolly Homecoming Parade,” featuring the star herself as grand marshall. Morales’s adventure allows her to compare the imaginary Tennessee of Parton’s lyrics with the real Tennessee where the singer grew up, looking at essential connections between country music, the land, and a way of life. It’s also a personal pilgrimage for Morales. Accompanied by her partner, Tony, and their nine-year-old daughter, Athena (who respectively prefer Mozart and Miley Cyrus), Morales, a recent transplant from England, seeks to understand America and American values through the celebrity sites and attractions of Tennessee.

This celebration of Dolly and Americana is for anyone with an old country soul who relies on music to help understand the world, and it is guaranteed to make a Dolly Parton fan of anyone who has not yet fallen for her music or charisma.

Pilgrims to the Wild is a survey of American writers who have responded to their encounters with the natural world. Ranging in its treatment from Thoreau’s important but neglected essay, 'Walking,' to the exuberant letters of the young artist Everett Ruess (who disappeared in the Escalante canyonlands), this is a broadly based exploration that brings to bear Eastern and Western classical philosophy, as well as contemporary critical theory, on a distinctive tradition of American Writing—those works concerned with the human relationship to the nonhuman world.

In addition to offering a fresh interpretation of classic authors such a Thoreau and Muir, this book introduces readers to the less widely known but equally fascinating writers Clarence King and Mary Austin.

As the heyday of the lumber camps faded, a young scholar named Franz Rickaby set out to find songs from shanty boys, river drivers, and sawmill hands in the Upper Midwest. Traveling mostly on foot with a fiddle slung over his shoulder, Rickaby fell into easy conversation with the men, collecting not just the words of songs, but the tunes, making careful notes about his informants and their performances. Shortly before his groundbreaking and much-praised Ballads and Songs of the Shanty Boy was published in 1926, Rickaby died, leaving later folklorists, cultural historians, and folksong enthusiasts with little knowledge of his life and other unpublished research.

Pinery Boys now incorporates, commemorates, contextualizes, and complements Rickaby's early work. It includes an introduction and annotations throughout by eminent folklore scholar James P. Leary and an engaging, impressively researched biography by Rickaby's granddaughter Gretchen Dykstra. Central to this edition are Rickaby's own introduction and the original fifty-one songs that he published—including "Jack Haggerty's Flat River Girl," "The Little Brown Bulls," "Ole from Norway," "The Red Iron Ore," and "Morrissey and the Russian Sailor"—plus fourteen additional songs selected to represent the varied collecting Rickaby did beyond the lumber camps.

Supplemented by historical photographs, Pinery Boys fully reveals Franz Rickaby as a visionary artist and scholar and provides glimpses into the past lives of woods poets and singers.

In modern pediatric practice, gender matters. From the pink-and-blue striped receiving blankets used to swaddle newborns, to the development of sex-specific nutrition plans based on societal expectations of the stature of children, a gendered culture permeates pediatrics and children’s health throughout the twentieth and early twenty-first centuries. This book provides a look at how gender has served as one of the frameworks for pediatric care in the U.S. since the specialty’s inception. Pink and Blue deploys gender—often in concert with class and race—as the central critical lens for understanding the function of pediatrics as a cultural and social project in modern U.S. history.

Today, copyright is everywhere, surrounded by a thicket of no trespassing signs that mark creative work as private property. Caren Irr’s Pink Pirates asks how contemporary novelists—represented by Ursula Le Guin, Andrea Barrett, Kathy Acker, and Leslie Marmon Silko—have read those signs, arguing that for feminist writers in particular copyright often conjures up the persistent exclusion of women from ownership. Bringing together voices from law schools, courtrooms, and the writer's desk, Irr shows how some of the most inventive contemporary feminist novelists have reacted to this history. 

 Explaining the complex, three-century lineage of Anglo-American copyright law in clear, accessible terms and wrestling with some of copyright law's most deeply rooted assumptions, Irr sets the stage for a feminist reappraisal of the figure of the literary pirate in the late twentieth century—a figure outside the restrictive bounds of U.S. copyright statutes. 

 Going beyond her readings of contemporary women authors, Irr’s exhaustive history of how women have fared under intellectual property regimes speaks to broader political, social, and economic implications and engages digital-era excitement about the commons with the most utopian and materialist strains in feminist criticism.

Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory. Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists' pasts that relates their aspirations to those of contemporary women. A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.

A fascinating look at life during pioneer times in western Pennsylvania. Describes the hardship, danger and drudgery of day-to-day life on the frontier. Topics include cabin raising, crop harvests, tanning, weaving, disease, religion,  and superstition. Also follows the progression from pioneer life to industrial society.

Pioneer Life in Western Pennsylvania was one of the original books sponsored by the University of Pittsburgh, the Historical Society of Western Pennsylvania, and the Buhl Foundation to mark the founding of the University of Pittsburgh Press.  Authors Wright and Corbett describe the country the first settlers discovered, the homes and towns they built, the farm implements and household goods they used, the crops they grew and how their small, isolated communities laid the foundations for the cities and industries we know today

A companion volume to Environmental Conflict in Alaska, Pioneering Conservation in Alaska chronicles the central land and wildlife issues and the growth of environmental conservation in Alaska during its Russian and territorial eras.

The Alaskan frontier tempted fur traders, whalers, salmon fishers, gold miners, hunters, and oilmen to take what they could without regard for long-term consequences. Wildlife species, ecosystems, and Native cultures suffered, sometimes irreparably. Damage to wildlife and lands drew the attention of environmentalists, including John Muir, who applied their influence to enact wildlife protection laws and set aside lands for conservation. Alaska served as a testing ground for emergent national resource policy in the United States, as environmental values of species and ecosystem sustainability replaced the unrestrained exploitation of Alaska's early frontier days.

Efforts of conservation leaders and the territory's isolation, small human population, and late development prevented widespread destruction and gave Americans a unique opportunity to protect some of the world's most pristine wilderness.

Enhanced by more than 100 photographs, Pioneering Conservation in Alaska illustrates the historical precedents for current natural resource disputes in Alaska and will fascinate readers interested in wildlife and conservation.

The Popular Culture Association/American Culture Association found a fixed canon and revolutionized the study of the humanities and social sciences in the United States and around the world by making that canon fluid. The full ramifications of this revolt against traditional academia not finished nor fully understood. This is a record of the goals and accomplishments of the pioneers in this field. The essays recall the barriers that the first pop culture scholars faced and tracks their achievements.

Internationally renowned for its pioneering role in the ecological restoration of tallgrass prairies, savannas, forests, and wetlands, the University of Wisconsin Arboretum contains the world’s oldest and most diverse restored ecological communities. A site for land restoration research, public environmental education, and enjoyment by nature lovers, the arboretum remains a vibrant treasure in the heart of Madison’s urban environment.
    Pioneers of Ecological Restoration chronicles the history of the arboretum and the people who created, shaped, and sustained it up to the present. Although the arboretum was established by the University of Wisconsin in 1932, author Franklin E. Court begins his history in 1910 with John Nolen, the famous landscape architect who was invited to create plans for the city of Madison, the university campus, and Wisconsin state parks. Drawing extensive details from archives and interviews, Court follows decades of collaborative work related to the arboretum’s lands, including the early efforts of Madison philanthropists and businessmen Michael Olbrich, Paul E. Stark, and Joseph W. “Bud” Jackson.
    With labor from the Civilian Conservation Corps during the 1930s Depression, University of Wisconsin scientists began establishing both a traditional horticultural collection of trees and plants and a completely new, visionary approach to recreate native ecosystems. Hundreds of dedicated scientists and staff have carried forward the arboretum’s mission in the decades since, among them G. William Longenecker, Aldo Leopold, John T. Curtis, Rosemary Fleming, Virginia Kline, and William R. Jordan III.
    This archival record of the arboretum’s history provides rare insights into how the mission of healing and restoring the land gradually shaped the arboretum’s future and its global reputation; how philosophical conflicts, campus politics, changing priorities, and the encroaching city have affected the arboretum over the decades; and how early aspirations (some still unrealized) have continued to motivate the work of this extraordinary institution.

Steve Cushing, the award-winning host of the nationally syndicated public radio staple Blues before Sunrise, has spent over thirty years observing and participating in the Chicago blues scene. In Pioneers of the Blues Revival, he interviews many of the prominent white researchers and enthusiasts whose advocacy spearheaded the blues' crossover into the mainstream starting in the 1960s.
 
Opinionated and territorial, the American, British, and French interviewees provide fascinating first-hand accounts of the era and movement. Experts including Paul Oliver, Gayle Dean Wardlow, Sam Charters, Ray Flerledge, Paul Oliver, Richard K. Spottswood, and Pete Whelan chronicle in their own words their obsessive early efforts at cataloging blues recordings and retrace lifetimes spent loving, finding, collecting, reissuing, and producing records. They and nearly a dozen others recount relationships with blues musicians, including the discoveries of prewar bluesmen Mississippi John Hurt, Son House, Skip James, and Bukka White, and the reintroduction of these musicians and many others to new generations of listeners. The accounts describe fieldwork in the South, renew lively debates, and tell of rehearsals in Muddy Waters's basement and randomly finding Lightning Hopkins's guitar in a pawn shop.
 
Blues scholar Barry Lee Pearson provides a critical and historical framework for the interviews in an introduction.

First published in 1957, Pioneers, Peddlers, & Tsadikim, the original history of the Jewish people in Colorado, is now back in a revised and updated edition with twenty-one new illustrations. Containing a new preface and a comprehensive chronology covering more than 140 years, Pioneers, Peddlers, & Tsadikim is a definitive volume for both the scholar of Jewish/Colorado history and the casual reader alike.

Owning a home has always been central to the American dream. For the more than one million Muslims in the United States, this is no exception. However, the Qur'an forbids the payment of interest, which places conventional home financing out of reach for observant Muslims. To meet the growing Muslim demand for home purchases, a market for home financing that would be halal, or permissible under Islamic law, has emerged. In Pious Property, anthropologist William Maurer profiles the emergence of this new religiously based financial service and explores the ways it reflects the influence of Muslim practices on American economic life and vice versa. Pious Property charts the development of Islamic mortgages in America, starting with Islamic interpretations of the prohibition against riba—literally translated as "increase" but interpreted as "usury" or "interest." Maurer then explores the different practices that have emerged as permissible options for Islamic homebuyers—such as lease-to-own arrangements, profit-loss sharing, and cost-plus contracts—and explains how they have gained acceptance in the Islamic community by relying on payment schemes that avoid standard interest rate payments. Using interviews with Muslim homebuyers and financiers, and in-depth analysis of two companies that provide mortgage alternatives to Muslims, Maurer discovers an interesting paradox: progressive Muslims tend to use financial contracts that seemingly comply better with the prohibition against interest, while traditional Muslims seem more inclined to take on financing very similar to interest-based mortgages. Maurer finds that Muslims make their decisions about using Islamic mortgage alternatives based not only on the views of religious scholars, but also on their conceptions of how business is supposed to be conducted in America. While one form of Islamic financing is seemingly more congruent with the prohibition against riba, the other exhibits more of the qualities of American mortgages—anonymity and standardized forms. The appearance that an Islamic financing instrument is legal and professional leaves many Muslim homebuyers with the impression that it is halal, revealing the influence of American capitalism on Muslim Americans' understanding of their religious rules. The market for halal financial products exists at the intersection of American and Islamic culture and is emblematic of the way that, for centuries, America's newcomers have adapted to and changed the fabric of American life. In Pious Property, William Maurer explores this rapidly growing economic phenomenon with historical perspective and scholarly insight.

Focusing on a class action lawsuit against the Illinois child welfare system (B. H. v. Johnson), Pitiful Plaintiffs examines the role of the federal courts in the child welfare policymaking process and the extent to which litigation can achieve the goal of reforming child welfare systems. 

Beginning in the 1970s, children’s advocates asked the federal courts to intervene in the child welfare policymaking process. Their weapons were, for the most part, class action suits that sought widespread reform of child welfare systems. This book is about the tens of thousands of abused and neglected children in the United States who enlisted the help of the federal courts to compel state and local governments to fulfill their obligations to them. Based on a variety of sources, the core of the research consists of in-depth, open-ended interviews with individuals involved in the Illinois child welfare system, particularly those engaged in the litigation process, including attorneys, public officials, members of children’s advocacy groups, and federal court judges. The interviews were supplemented with information from legal documents, government reports and publications, national and local news reports, and scholarly writings. Despite the proliferation of child welfare lawsuits and the increasingly important role of the federal judiciary in child welfare policymaking, structural reform litigation against child welfare systems has received scant scholarly attention from a political science or public policy perspective. Mezey’s comprehensive study will be of interest to political scientists and public policy analysts, as well as anyone involved in social justice and child welfare.

This is a history of a major American university from its birth on the western frontier in the eighteenth century through its two-hundredth anniversary. Told primarily through the stories of its energetic and sometimes eccentric chancellors, it’s a colorful and highly readable chronicle of the University of Pittsburgh.
    The story begins in the early spring of 1781, when an ambitious young Philadelphia lawyer named Hugh Henry Brackenridge crossed the Alleghenies to seek his opportunity in Pittsburgh. “My object,”?he wrote, “was to advance the country [Western Pennsylvania] and thereby myself.” He founded Pittsburgh Academy, later to be the Western University of Pennsylvania and then the University of Pittsburgh, and lived to see the school grow along with the city.
    Author Robert C. Alberts, mines the University archives and describes many issues for the first time. Among them is the role played by the Board of Trustees in the conflicts of the administration of Chancellor John Gabbert Bowman, including the firing of a controversial history professor, Ralph Turner; the resignation of the legendary football coach, Jock Sutherland; and a Board investigation into Bowman’s handling of faculty and staff. We see Pitt’s decade of progress under Edward Litchfield (1956–165), who gambled that the millions of dollars he spent . . . would be forthcoming form somewhere or someone; but who, as it turned out was mistaken.”
    Pitt became a state-related university in August 1966, but financial stability was achieved gradually during the administration of Chancellor Wesley W. Posvar. The ensuing crisis of the 1960s and early 1970, caused by the Vietnam War, and the student protests that accompanied it, are described in rich detail. The history then follows Pitt’s emergence as a force in international higher education; the institution’s role in fostering a cooperative relationship with business; and its entry into the postindustrial age of high technology.
    The story of Pitt reflects all the struggles and the hopes of the region. As Alberts writes in his preface, “There was drama; there was tragedy; there was indeed controversy and politics. There were, unexpectedly, rich veins of humor, occasionally of comedy.”

From its founding in 1758, Pittsburgh has experienced several epic transformations.  It began its existence as a fortress, on a site originally selected by George Washington.  A hundred years later, and well into our own time, no other American city was as intensively industrialized, only to be later consigned to “rustbelt” status.  Remade as a thriving twenty-first-century city and an international center for science, medicine, biotechnology, and financial services, Pittsburgh is now routinely acclaimed as one of the most promising and livable of America's cities.  Franklin Toker shows us why.

Toker highlights this remarkable story of urban reinvention by focusing on what makes Pittsburgh so resilient and appealing - its strong neighborhoods and their surprisingly rich architectural history.   The many unique, lively urban communities that make up Pittsburgh are a treasure trove of every imaginable style of structure, from Victorian to Bauhaus, Gothic to Art Deco, and from Industrial to Green.  These ordinary homes expressed the aspirations of people who came from around the world to settle in Pittsburgh, while they built the city itself into an economic powerhouse.  With the wealth generated by this everyday work, local captains of industry could build their own monumental additions to Pittsburgh's urban landscape, including two of America's greatest buildings: H. H. Richardson's Allegheny Courthouse and Frank Lloyd Wright's Fallingwater. 

With accessible prose, Toker examines Pittsburgh in its historical context (from Indian settlement to postmodern city), in its regional setting (from the playgrounds of the Laurel Highlands to the hard-working mill towns dotting the landscape), and from the street level (leading the reader on a personal tour through every neighborhood).  Lavishly illustrated with photos and maps, Pittsburgh: A New Portrait reveals the true colors of a truly great American city. 

Few American cities reflect the challenges and promise of a twenty-first-century economy better than Pittsburgh and its surrounding region. Once a titan of the industrial age, Pittsburgh flourished from the benefits of its waterways, central location, and natural resources-bituminous coal to fire steel furnaces; salt and sand for glass making; gas, oil, and just enough ore to spark an early iron industry. Today, like many cities located in the manufacturing triangle that stretches from Boston to Duluth to St. Louis, Pittsburgh has made the transition to a service-based economy.

Pittsburgh and the Appalachians presents a collection of eighteen essays that explore the advantages and disadvantages that Pittsburgh and its surrounding region face in the new global economy, from the perspectives of technology, natural resources, workforce, and geography.  It offers an extensive examination of the processes and factors that have transformed much of industrial America during the past half-century, and shows how other cities can learn from the steps Pittsburgh has taken through redevelopment, green space acquisition, air and water quality improvement, cultural revival, and public-private partnerships to create a more livable, economically viable region for future populations.

Pittsburgh has a rich and diverse theatrical tradition, from early frontier performances by officers stationed at Fort Pitt through experimental theater at the end of the twentieth century. Pittsburgh in Stages offers the first comprehensive history of theater in Pittsburgh, placing it within the context of cultural development in the city and the history of theater nationally.

By the time the first permanent theater was built in 1812, Pittsburgh had already established itself as a serious patron of the theatrical arts. The city soon hosted New York and London-based traveling companies, and gained a national reputation as a proving ground for touring productions. By the early twentieth century, numerous theaters hosted 'popular-priced' productions of vaudeville and burlesque, and theater was brought to the masses. Soon after, Pittsburgh witnessed the emergence of myriad community-based theater groups and the formation of the Federation of Non-Commercial Theatres and the New Theater League, guilds designed to share resources among community producers. The rise of local theater was also instrumental to the growth of African American theatrical groups. Though victims of segregation, their art flourished, and was only later recognized and blended into Pittsburgh's theatrical melting pot.

Pittsburgh in Stages relates the significant influence and interpretation of urban socioeconomic trends in the theatrical arts and the role of the theater as an agent of social change. Dividing Pittsburgh's theatrical history into distinct eras, Lynne Conner details the defining movements of each and analyzes how public tastes evolved over time. She offers a fascinating study of regional theatrical development and underscores the substantial contribution of regional theater in the history of American theatrical arts.

From 1909-1914 the Pittsburgh Survey brought together statisticans, social workers, engineers, lawyers, physicians, economists, and city planners to study the effects of industrialization on the city of Pittsburgh.  Pittsburgh Surveyed examines the accuracy and the impact of the influential Pittsburgh Survey, emphasizing its role in the social reform movement of the early twentieth century.

Originally published in 1937, [t]his standard history of Pittsburgh tells the city’s story from its violent days as an eighteenth-century outpost of empire to the onset of its great age of industrial expansion. With wonderful line illustrations by Ward Howe. 

Politicians and pundits alike have complained that the divided governments of the last decades have led to legislative gridlock. Not so, argues Keith Krehbiel, who advances the provocative theory that divided government actually has little effect on legislative productivity. Gridlock is in fact the order of the day, occurring even when the same party controls the legislative and executive branches. Meticulously researched and anchored to real politics, Krehbiel argues that the pivotal vote on a piece of legislation is not the one that gives a bill a simple majority, but the vote that allows its supporters to override a possible presidential veto or to put a halt to a filibuster. This theory of pivots also explains why, when bills are passed, winning coalitions usually are bipartisan and supermajority sized. Offering an incisive account of when gridlock is overcome and showing that political parties are less important in legislative-executive politics than previously thought, Pivotal Politics remakes our understanding of American lawmaking.

Hot Springs National Park was recognized nationally in 2010 when the U.S. Mint unveiled the design of the first quarter of 56 in a series called the America the Beautiful Quarters Program. In 1903 a Chicago magazine, The 400, told its upscale readers about Hot Springs, Arkansas. The article's author wrote, "I also perceive a Chicago-Hot Springs air line of macadamized highway, lined with meteoric automobiles ribboning off the 750 miles between the cities in a thousand or less minutes. The perspective is almost delirious." Such exuberant words are testimony to what Hot Springs, "a place apart," has been to the nation since the early European explorers found vapors rising from the thermal springs-47 of them from which a million gallons of 143-degree water flow each day. A Place Apart offers readers a balanced history in words and historic photographs of a unique locale in the state of Arkansas. The hot springs of what the Native Americans called Washita were on the national map of Pres. Thomas Jefferson when the United States acquired what would become Arkansas in the Louisiana Purchase of 1804. Congress created the Hot Springs Reservation in 1832-the first land that the federal government set aside for preservation-granting federal protection of the thermal waters, and renamed it Hot Springs National Park in 1921. This book provides a fascinating visual history of pioneers, wealthy barons, scoundrels, gamblers (including such frequent visitors as Al Capone and Lucky Luciano), colorful politicians, and the hundreds of thousands of people who came to the spa city in hopes of regaining their fleeting health. Also covered are such famous attractions as Oaklawn Park, a thoroughbred horse-racing track, and Bathhouse Row, with its eight turn-of-the-century historic buildings.