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From the 1848 Treaty of Guadalupe Hidalgo to the 1960s, Mexican American Catholics experienced racism and discrimination within the U.S. Catholic church, as white priests and bishops maintained a racial divide in all areas of the church's ministry. To oppose this religious apartheid and challenge the church to minister fairly to all of its faithful, a group of Chicano priests formed PADRES (Padres Asociados para Derechos Religiosos, Educativos y Sociales, or Priests Associated for Religious, Educational, and Social Rights) in 1969. Over the next twenty years of its existence, PADRES became a powerful force for change within the Catholic church and for social justice within American society.

This book offers the first history of the founding, activism, victories, and defeats of PADRES. At the heart of the book are oral history interviews with the founders of PADRES, who describe how their ministries in poor Mexican American parishes, as well as their own experiences of racism and discrimination within and outside the church, galvanized them into starting and sustaining the movement. Richard Martínez traces the ways in which PADRES was inspired by the Chicano movement and other civil rights struggles of the 1960s and also probes its linkages with liberation theology in Latin America. He uses a combination of social movement theory and organizational theory to explain why the group emerged, flourished, and eventually disbanded in 1989.

The six Frigate Panters were all built in the USA with MDAP funds. They were designed to escort slow coastal convoys in the Channel and North Sea areas and were operated as a single squadron by the Royal Netherlands Navy. They proved useful in a number of peacetime tasks, especially fishery protection, and some retained this role in the North Sea until the mid-1980s.

Unlock the stories of Pablo Neruda’s rare nineteenth-century carved-wood ship figurehead collection in Chile, why they mattered in his tumultuous life, and how we benefit from them now.

Poet Pablo Neruda’s nineteenth-century ship figurehead collection in Chile is one of the most significant in the world. Containing carved wood images of dramatically postured men and women, these figures are now better understood due to years of research, a willingness to challenge Neruda’s ever-changing stories about them, and a realization that the names Neruda chose for his figureheads perhaps had more to do with his life than theirs. The rhythm and beauty of Neruda’s worn wood figures is counterpoint to his own tumultuous life as an author, politician, and communist dissident.

Collecting ship figureheads was central to Neruda’s passion for owning things made of wood, a material he said was his best friend, and for standing out among others as he gradually built the public persona that helped move him toward winning the Nobel Prize in Literature. With his choir of immobilized figureheads stationed upright in his living room and facing the Pacific Ocean, Neruda was surrounded by dramatic images from the sea that ignited his most powerful feelings. 

The nineteenth century saw figureheads on the bows of ships of sail and steam, yet when a figurehead was lost or removed, its history soon disappeared. The significant ship figureheads that Neruda avidly collected preserve that history and reveal new dimensions concerning his life and work. Each year, his collection is viewed by thousands of visitors to the Pablo Neruda Foundation’s house museum at Isla Negra.

The upheavals of glasnost and perestroika followed by the collapse of the Soviet Union remarkably transformed the art scene in Kyiv, launching Ukrainian contemporary art as a global phenomenon. The previously calm waters of the culturally provincial capital of the Ukrainian Soviet Republic became radically stirred with new and daring art made publicly visible for the first time since the avant-garde period of the early twentieth century. As artists were freed from the dictates of the fading Communist ideology and the constraints of late socialist realism, an explosion of styles emerged, creating an effect of baroque excess. This exhibition catalogue traces and documents the diverse artistic manifestations of these transitional and exhilarating years in Kyiv while providing some historical artworks for context. Published in partnership with the Zimmerli Museum.

Bringing rare interviews and meticulous research to the cloaked world of Mexican politics in the mid-twentieth century, Palace Politics provides a captivating look at the authoritarian Mexican state—one of the longest-lived regimes of its kind in recent history—as well as the origins of political instability itself, with revelations that can be applied to a variety of contemporary political situations around the globe.

Culling a trove of remarkable firsthand accounts from former Mexican presidents, finance ministers, interior ministers, and other high officials from the 1950s through the 1980s, Jonathan Schlefer describes a world in which elite politics planted the seeds of a mammoth socioeconomic crisis. Palace Politics outlines the process by which political infighting among small rival factions of high officials drove Mexico to precarious situations at all levels of government. Schlefer also demonstrates how, earlier on, elite cooperation among these factions had helped sustain one of the most stable growth economies in Latin America, until all-or-nothing struggles began to tear the Mexican ruling party apart in the 1970s.

A vivid, seamlessly narrated history, Palace Politics is essential reading for anyone seeking to better understand not only the nation next door but also the workings of elite politics in general.

Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project.

Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.

An intellectual history of pan-Asianist discourse in the twentieth century.

Recent proposals to revive the ancient Silk Road for the contemporary era and ongoing Western interest in China’s growth and development have led to increased attention to the concept of pan-Asianism. Most of that discussion, however, lacks any historical grounding in the thought of influential twentieth-century pan-Asianists. In this book, Viren Murthy offers an intellectual history of the writings of theorists, intellectuals, and activists—spanning leftist, conservative, and right-wing thinkers—who proposed new ways of thinking about Asia in their own historical and political contexts. Tracing pan-Asianist discourse across the twentieth century, Murthy reveals a stronger tradition of resistance and alternative visions than the contemporary discourse on pan-Asianism would suggest. At the heart of pan-Asianist thinking, Murthy shows, were the notions of a unity of Asian nations, of weak nations becoming powerful, and of the Third World confronting the “advanced world” on equal terms—an idea that grew to include non-Asian countries into the global community of Asian nations. But pan-Asianists also had larger aims, imagining a future beyond both imperialism and capitalism. The fact that the resurgence of pan-Asianist discourse has emerged alongside the dominance of capitalism, Murthy argues, signals a profound misunderstanding of its roots, history, and potential.

The Panama Canal Treaties of 1977 were the most significant foreign policy achievement of the Carter administration. Most Latin American nations had regarded the 1903 treaty and its later minor modifications as vestiges of "American colonialism" and obstacles to any long-term, stable relationship with the United States. Hence, at a time when conflicts were mushrooming in Central America, the significance of the new Panama treaties cannot be overestimated.

Former Ambassador to Panama William J. Jorden has provided the definitive account of the long and often contentious negotiations that produced those treaties. It is a vividly written reconstruction of the complicated process that began in 1964 and ended with ratification of the new pacts in 1978. Based on his personal involvement behind the scenes in the White House (1972–1974) and in the United States Embassy in Panama (1974–1978), Jorden has produced a unique living history. Access to documents and the personalities of both governments and, equally important, Jorden's personal recollections of participants on both sides make this historical study an incomparable document of U. S. foreign relations.

Beyond the singular story of the treaties themselves—and how diplomats negotiate in the modern world—is the rare description of how the United States deals with a major foreign policy problem. How does a superpower cope with a tiny nation that happens to occupy a strategically critical position? And how does the U. S. Senate face up to its constitutionally assigned power to "advise and consent"? Once treaties are approved, does the House of Representatives help or hinder? Panama Odyssey also deals with another crucial element in the shaping of policy—public opinion: how is it informed or led astray?

In sum, this is a history, a handbook on diplomacy, a course in government, and a revelation of foreign policy in action, all based on a fascinating and controversial episode in the U. S. experience.

During his forty-two years as president of AMS Press, Gabriel Hornstein quietly sponsored and stimulated the revival of “long” eighteenth-century studies. Whether by reanimating long-running research publications; by creating scholarly journals; or by converting daring ideas into lauded books, “Gabe” initiated a golden age of Enlightenment scholarship. This understated publishing magnate created a global audience for a research specialty that many scholars dismissed as antiquarianism. Paper, Ink, and Achievement finds in the career of this impresario a vantage point on the modern study of the Enlightenment. An introduction discusses Hornstein’s life and achievements, revealing the breadth of his influence on our understanding of the early days of modernity. Three sets of essays open perspectives on the business of long-eighteenth-century studies: on the role of publishers, printers, and bibliophiles in manufacturing cultural legacies; on authors whose standing has been made or eclipsed by the book culture; and on literary modes that have defined, delimited, or directed Enlightenment studies.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Paraprofessional educators entered US schools amidst the struggles of the late 1960s. Immersed in the crisis of care in public education, paras improved systems of education and social welfare despite low pay and second-rate status.

Understanding paras as key players in Black and Latino struggles for jobs and freedom, Nick Juravich details how the first generation of paras in New York City transformed work in public schools and the relationships between schools and the communities they served. Paraprofessional programs created hundreds of thousands of jobs in working-class Black and Latino neighborhoods. These programs became an important pipeline for the training of Black and Latino teachers in the1970s and early 1980s while paras’ organizing helped drive the expansion and integration of public sector unions.

An engaging portrait of an invisible profession, Para Power examines the lives and practices of the first generation of paraprofessional educators against the backdrop of struggles for justice, equality, and self-determination.

Tracing paranoia as a defining pattern of modern American literature. 

The recent popularity of The DaVinci Code and The Matrix trilogy exemplifies the fascination Americans have with conspiracy-driven subjects. Though scholars have suggested that in modern times the JFK assassination initiated an industry of conspiracy (i.e., Vietnam and the Pentagon Papers, Area 51, Iran-Contra Affair), Samuel Chase Coale reminds us in this book that conspiracy is foundational in American culture—from the apocalyptic Biblical narratives in early Calvinist households to the fear of Mormon, Catholic, Jewish, and immigrant populations in the 19th century. 

Coale argues that contemporary culture—a landscape characterized by doubt, ambiguity, fragmentation, information overload, and mistrust—has fostered a radical skepticism so pervasive that the tendency to envision or construct conspiracies often provides the best explanation for the chaos that surrounds us.

Conspiracy as embodied in narrative form provides a fertile field for explorations of the anxiety lying at the heart of the postmodern experience. Thomas Pynchon's The Crying of Lot 49, Don DeLillo's Underworld, Toni Morrison's Jazz and Paradise, Joan Didion's Democracy, Tim O'Brien's In the Lake of the Woods, and Paul Auster's New York City Trilogy are some of the texts Coale examines for their representations of isolated individuals at the center of massive, anonymous master plots that lay beyond their control. These narratives remind us that our historical sense of national identity has often been based on the demonizing of others and that American fiction arose and still flourishes with apocalyptic visions.

 

Given the militarism of the Empire and Nazi Germany, why did postwar West Germany experience massive waves of peace protest in the 1950s, 1960s, and 1980s? How have postwar peace movements shaped German political culture? Will the cultural norms that frown on the use of military force constrain foreign policy in the new, unified, Germany? In Paradoxes of Peace, Alice Holmes Cooper traces the evolution of peace movements in West Germany (1945-90) and in united Germany since 1990. Cooper examines the domestic and international constellations that gave rise to the peace movements, the sources of their multi-faceted ideologies and participants, and their organizational structures and strategies. The author then investigates the peace movement's response to the challenges of the post-Cold War world. Whereas previous work on German peace movements has concentrated on one period of mobilization or on elite security-policy debates, this comprehensive study examines all phases of mobilization since 1945, taking into account the full spectrum of actors, movement organization and strategy, and the broad political, social, and economic environments spawning peace protest. Arguing that theories of resource mobilization, changes in values, and crises of modernity are insufficient to explain peace movements, Paradoxes of Peace tailors a "political process" approach to postwar German movements. It investigates the political opportunities--the changing domestic and international constellation--which most favored peace mobilization since 1945. It examines the process through which the peace movement transformed popular consciousness and created a peace constituency. It analyzes how German peace movements gradually built an indispensable organizational infrastructure autonomous from parties and other social institutions. Cooper argues that the convergence of these factors determined the movement's capacity to mobilize and have political impact and allowed these to grow over time. Alice Holmes Cooper is Assistant Professor of Government, University of Virginia.

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. 

While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.

One of the first things any visitor to Barbados notices is Barbadian youths wearing baseball caps and T-shirts sporting the logos of North American teams; and these days, one is more likely to find an American sitcom on television than a Caribbean program. The Parish behind God's Back describes the social fabric and everyday life of one rural parish on the island, St. Lucy, including its many links to the outside world. It is a contemporary ethnography of the local that takes into account the enormous influence of global factors such as tourism, television, foreign travel, and return migrants. Written with students in mind, the book contains several unique features. Each chapter blends descriptions of Barbadian culture with comparisons to North America; throughout, the authors include tales of not only their own fieldwork experiences but those of their undergraduate students; and personal narratives are emphasized to engage interest in individuals. This highly readable and thought-provoking account should appeal to general readers with an interest in the Caribbean as well as to students of anthropology. George Gmelch is Professor and Chair, Department of Anthropology, Union College. Sharon Bohn Gmelch is Professor of Anthropology and Director of Women's Studies, Union College.

Parlor Ponds: The Cultural Work of the American Home Aquarium, 1850–1970 examines the myriad cultural meanings of the American home aquarium during the nineteenth and twentieth centuries and argues that the home aquarium provided its enthusiasts with a potent tool for managing the challenges of historical change, from urbanization to globalization. The tank could be a window to an alien world, a theater for domestic melodrama, or a vehicle in a fantastical undersea journey. Its residents were seen as inscrutable and wholly disposable “its,” as deeply loved and charismatic individuals, and as alter egos by aquarists themselves.

Parlor Ponds fills a gap in the growing field of animal studies by showing that the tank is an emblematic product of modernity, one using elements of exploration, technology, science, and a commitment to rigorous observation to contain anxieties spawned by industrialization, urbanization, changing gender roles, and imperial entanglements. Judith Hamera engages advertisements, images, memoirs, public aquarium programs, and enthusiast publications to show how the history of the aquarium illuminates complex cultural attitudes toward nature and domestication, science and religion, gender and alterity, and national conquest and environmental stewardship with an emphasis on the ways it illuminates American public discourse on colonial and postcolonial expansion.

Gibbons uncovers the origins of the Partition of Ireland.

The Partition of Ireland in 1921, which established Northern Ireland and saw it incorporated into the United Kingdom, sparked immediate civil war and a century of unrest. Today, the Partition remains the single most contentious issue in Irish politics, but its origins—how and why the British divided the island—remain obscured by decades of ensuing struggle.
           
Cutting through the partisan divide, Partition takes readers back to the first days of the twentieth century to uncover the concerns at the heart of the original conflict. Drawing on extensive primary research, Ivan Gibbons reveals how the idea to divide Ireland came about and gained popular support as well as why its implementation proved so controversial and left a century of troubles in its wake.
 

Offers insight into the links between the development of print culture and the many dynamic strains of nationalism in dialogue during the Partition of the Indian subcontinent in 1947.
 
How did inexpensive posters influence nationalism in the decades leading up to and succeeding the Partition of the Indian subcontinent in 1947? If mechanically reproduced images that occupy public spaces reflect the aesthetics of the “masses,” what can a critical interpretation of subcontinental popular visual culture in the mid-twentieth century reveal about the formation of communal identities?
 
In this essay, Yousuf Saeed studies the selective deification of leaders fighting for Indian independence. He highlights the biased representation within the domain of “patriotic” posters of the time and the evolving portrayal of religious minority communities in India’s popular print culture over subsequent decades. Also charts the turn popular print culture took in post-Partition Pakistan, Saeed focuses on the country’s thriving industry of Sufi-saint posters. Partitioning Bazaar Art is a timely exploration of how nationalism can be defined through popular imagery.