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Examines the role of architecture in the history of global development and decolonization.

In Modernism’s Magic Hat, Ijlal Muzaffar examines how modern architects and planners help resolve one of the central dilemmas of the mid-twentieth-century world order: how to make decolonization plausible without accounting for centuries of capital drain under colonial rule. In the years after World War II, architects and planners found extensive opportunities in new international institutions—such as the World Bank, the UN, and the Ford Foundation—and helped shape new models of global intervention that displaced the burden of change onto the inhabitants. Muzaffar argues that architecture in this domain didn’t just symbolically represent power, but formed the material domain through which new modes of power acquired sense. Looking at a series of architectural projects across the world, from housing in Ghana to village planning in Nigeria and urban planning in Venezuela and Pakistan, Muzaffar explores how architects and planners shaped new ideas of time, land, climate, and the decolonizing body, making them appear as sources of untapped value. What resulted, Muzaffar argues, is a widespread belief in spontaneous Third World “development” without capital, which continues to foreclose any global discussion of colonial theft.

Since the mid 1970s, there has been an extraordinary renewal of interest in early modern architecture, both as a way of gaining insight into contemporary architectural culture and as a reaction to neoconservative postmodernism. This book undertakes a critical reappraisal of the notion of modernity in Mexican architecture and its influence on a generation of Mexican architects whose works spanned the 1920s through the 1960s.

Nine essays by noted architects and architectural historians cover a range of topics from broad-based critical commentaries to discussions of individual architects and buildings. Among the latter are the architects Enrique del Moral, Juan O'Gorman, Carlos Obregón Santacilia, Juan Segura, Mario Pani, and the campus and stadium of the Ciudad Universitaria in Mexico City.

Relatively little has been published in English regarding this era in Mexican architecture. Thus, Modernity and the Architecture of Mexico will play a groundbreaking role in making the underlying assumptions, ideological and political constructs, and specific architect's agendas known to a wide audience in the humanities. Likewise, it should inspire greater appreciation for this undervalued body of works as an important contribution to the modern movement.

2022 PROSE Award Finalist in Architecture and Urban Planning
2022 Association for Latin American Art Arvey Foundation Book Award, Honorable Mention

Throughout the early twentieth century, waves of migration brought working-class people to the outskirts of Buenos Aires. This prompted a dilemma: Where should these restive populations be situated relative to the city’s spatial politics? Might housing serve as a tool to discipline their behavior?

Enter Antonio Bonet, a Catalan architect inspired by the transatlantic modernist and surrealist movements. Ana María León follows Bonet's decades-long, state-backed quest to house Buenos Aires's diverse and fractious population. Working with totalitarian and populist regimes, Bonet developed three large-scale housing plans, each scuttled as a new government took over. Yet these incomplete plans—Bonet's dreams—teach us much about the relationship between modernism and state power.

Modernity for the Masses finds in Bonet's projects the disconnect between modern architecture’s discourse of emancipation and the reality of its rationalizing control. Although he and his patrons constantly glorified the people and depicted them in housing plans, Bonet never consulted them. Instead he succumbed to official and elite fears of the people's latent political power. In careful readings of Bonet's work, León discovers the progressive erasure of surrealism's psychological sensitivity, replaced with an impulse, realized in modernist design, to contain the increasingly empowered population.

As American troops became bogged down first in Iraq and then Afghanistan, a key component of U.S. strategy was to build up local police and security forces in an attempt to establish law and order. This approach, Jeremy Kuzmarov shows, is consistent with practices honed over more than a century in developing nations within the expanding orbit of the American empire. From the conquest of the Philippines and Haiti at the turn of the twentieth century through Cold War interventions and the War on Terror, police training has been valued as a cost-effective means of suppressing radical and nationalist movements, precluding the need for direct U.S. military intervention and thereby avoiding the public opposition it often arouses.

Unlike the spectacular but ephemeral pyrotechnics of the battlefield, police training programs have had lasting consequences for countries under the American imperial umbrella, fostering new elites, creating powerful tools of social control, and stifling political reform. These programs have also backfired, breeding widespread resistance, violence, and instability—telltale signs of “blowback” that has done more to undermine than advance U.S. strategic interests abroad.

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire ​altogether.

As movies took the country by storm in the early twentieth century, Americans argued fiercely about whether municipal or state authorities should step in to control what people could watch when they went to movie theaters, which seemed to be springing up on every corner. Many who opposed the governmental regulation of film conceded that some entity—boards populated by trusted civic leaders, for example—needed to safeguard the public good. The National Board of Review of Motion Pictures (NB), a civic group founded in New York City in 1909, emerged as a national cultural chaperon well suited to protect this emerging form of expression from state incursions.

Using the National Board’s extensive files, Monitoring the Movies offers the first full-length study of the NB and its campaign against motion-picture censorship. Jennifer Fronc traces the NB’s Progressive-era founding in New York; its evolving set of “standards” for directors, producers, municipal officers, and citizens; its “city plan,” which called on citizens to report screenings of condemned movies to local officials; and the spread of the NB’s influence into the urban South. Ultimately, Monitoring the Movies shows how Americans grappled with the issues that arose alongside the powerful new medium of film: the extent of the right to produce and consume images and the proper scope of government control over what citizens can see and show.

The Strategic Victory that Established the Continental Army as a True Fighting Force
The battle of Monmouth Court House, New Jersey, is among the most important battles in the history of the American Army. Well known in American mythology as the battle where Molly Pitcher fought alongside her fallen husband, Monmouth Court House is regarded by historians as the moment when the image of the American army in both Europe and the colonies was transformed from that of a rag-tag band of ill-trained civilians to that of a disciplined, well-guided, professional military unit. In June 1778, British General Henry Clinton’s army evacuated Philadelphia and struck out across “the Jerseys” on its way back to New York City. George Washington’s Continental Army, retrained and confident after enduring a winter at Valley Forge and supplemented by a large number of fresh New Jersey militia, marched in pursuit. About 50 miles south of New York City, the armies clashed at Monmouth Court House on June 28, in the last major Revolutionary War battle in the north. Essentially a draw, the battle marked the first time in the war that the Continental Army was able to hold a battlefield, fighting the full force of the British army to a standstill. Monmouth Court House: The Battle that Made the American Army by Joseph G. Bilby and Katherine Bilby Jenkins is the story of this battle, how it came to be, and its influence on the course of the war and American history.

The authors set Monmouth Court House within the context of the American Revolution and the civil war between Tories and Whigs that erupted in New Jersey during that time. The entire campaign and battle are described, including an analysis of the commanders, personnel, organization, training, and weapons of both armies. The book also assesses the historiography and folklore of the battle, including the story of the real “Molly Pitcher,” the use of the battleground as Civil War muster-in camp, its eventual status as Monmouth Battleground State Park, and current efforts at interpretation and battlefield archaeology and how they have changed our understanding of the battle.

A vividly illustrated volume tracing the monochrome as a fundamental yet expansive strategy in twentieth- and twenty-first-century art.

Exploring a fantastic range of monochromatic artworks, Monochrome Multitudes upends traditional accounts of abstraction, revisits modernist ideas, and reveals the creative possibilities and global resonance of a seemingly reductive art form.

Bringing together examples spanning five continents, the book considers how artists such as El Anatsui, Mark Bradford, Lygia Clark, Lucio Fontana, Ellsworth Kelly, Yayoi Kusama, Kasimir Malevich, Gerhard Richter, Betye Saar, Amanda Williams, Haegue Yang, as well as little-known early cartoonists have experimented with monochrome compositions. Scholars of art history, film, music, law, disability studies, astrophysics, neurobiology, mathematics, and more reflect on monochrome artworks that build on foundational components of modernism. Together, they illuminate often overlooked cultural, political, racial, and gendered meanings of artworks; reveal the significance of materials ranging from fiber, wall paint, and videotape, to footballs, pantyhose, and candy; and engage North American art in a global dialog extending into Europe, Asia, Latin America, and Africa. Artworks are presented in monochromatic groupings—yellow, blue, white, red, gray, and black—and thematic sections trace connections across topics such as the body, the environment, urban space, sound, and media.

New paperback edition with an introduction by Robert B. Reich

Monongah: The Tragic Story of the 1907 Monongah Mine Disaster documents the events and conditions that led to the worst industrial accident in the history of the United States. This mining accident claimed hundreds of lives on the morning of December 6, 1907 and McAteer, an expert on mine and workplace health and safety, delves deeply into the economic forces and social-political landscape of the mining communities of north central West Virginia to expose the truth behind this tragedy. After nearly thirty years of exhaustive research, McAteer determines that close to 500 men and boys—many of them immigrants—lost their lives that day, leaving hundreds of women widowed and more than one thousand children orphaned. 

The tragedy at Monongah led to a greater awareness of industrial working conditions, and ultimately to the Federal Coal Mine Health and Safety Act of 1969, which McAteer helped to enact. This new paperback edition includes an introduction by Robert B. Reich, Chancellor’s Professor of Public Policy at the University of California at Berkeley and Secretary of Labor during the Clinton administration.

This volume of essays intends to present diverse aspects of monotheistic kingship during the Middle Ages in two general-theoretical articles and a series of “case studies” on the relationship of religion and rulership. The authors discuss examples of the role of religion—based on both textual and iconic evidence—in Carolingian, Ottonian and late medieval western Europe; in Byzantium and Armenia; Georgia; Hungary; the Khazar Khanate; Poland, and Rus’. Two studies explore the issue in medieval Jewish and Islamic political thought. The editors hope that these special inquiries will engender more comparative studies on the subject.

Jack the Ripper. Jeffrey Dahmer. John Wayne Gacy. Locusta of Gaul. If that last name doesn’t seem to fit with the others, it’s likely because our modern society largely believes that serial killers are a recent phenomenon. Not so, argues Debbie Felton—in fact, there’s ample evidence to show that serial killers stalked the ancient world just as they do the modern one.

Felton brings this evidence to light in Monsters and Monarchs, and in doing so, forces us to rethink the assumption that serial killers arise from problems unique to modern society. Exploring a trove of stories from classical antiquity, she uncovers mythological monsters and human criminals that fit many serial killer profiles: the highway killers confronted by the Greek hero Theseus, such as Procrustes, who tortured and mutilated their victims; the Sphinx, or “strangler,” from the story of Oedipus; child-killing demons and witches, which could explain abnormal infant deaths; and historical figures such as Locusta of Gaul, the most notorious poisoner in the early Roman Empire. Redefining our understanding of serial killers and their origins, Monsters and Monarchs changes how we view both ancient Greek and Roman society and the modern-day killers whose stories still captivate the public today.