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Shortly before his death in 1984, Michel Foucault spoke of an idea for a new book on “technologies of the self.” He described it as “composed of different papers about the self. . . . about the role of reading and writing in constituting the self. . . . and so on.” The book Foucault envisioned was based on a faculty seminar on “Technologies of the Self,” originally presented at the University of Vermont in the fall of 1982. This volume is a partial record of that seminar. 

In many ways, Foucault's project on the self was the logical conclusion to his historical inquiry over twenty-five years into insanity, deviancy, criminality, and sexuality. Because Foucault died before he completed the revisions of his seminar presentations, this volume includes a careful transcription instead...as a prolegomenon to that unfinished task.

Foucault was a French philosopher, historian of ideas, social theorist, philologist and literary critic.

This volume was edited by Luther H. Martin, Huck Gutman, and Patrick H. Hutton.

• Regulation of private industry
• Social acceptance of commercial innovation
• Negative perceptions of the "Technological Age"
• Cultural and artistic features of technology

Developing "sustainable" architectural and agricultural technologies was the intent behind Blueprint Farm, an experimental agricultural project designed to benefit farm workers displaced by the industrialization of agriculture in the Rio Grande Valley of Texas. Yet, despite its promise, the very institutions that created Blueprint Farm terminated the project after just four years (1987-1991).

In this book, Steven Moore demonstrates how the various stakeholders' competing definitions of "sustainability," "technology," and "place" ultimately doomed Blueprint Farm. He reconstructs the conflicting interests and goals of the founders, including Jim Hightower and the Texas Department of Agriculture, Laredo Junior College, and the Center for Maximum Potential Building Systems, and shows how, ironically, they unwittingly suppressed the self-determination of the very farm workers the project sought to benefit. From the instructive failure of Blueprint Farm, Moore extracts eight principles for a regenerative architecture, which he calls his "nonmodern manifesto."

Adam Crymble mines private and web archives, social media, and oral histories to show how technology and historians have come together. Using case studies, Crymble merges histories and philosophies of the field, separating issues relevant to historians from activities in the broader digital humanities movement. Key themes include the origin myths of digital historical research; a history of mass digitization of sources; how technology influenced changes in the curriculum; a portrait of the self-learning system that trains historians and the problems with that system; how blogs became a part of outreach and academic writing; and a roadmap for the continuing study of history in the digital era.

This collection of essays from international scholars across various disciplines addresses the compelling theme of technological pessimism—the conviction that technology has simultaneously given humanity the means to achieve unlimited progress while simultaneously providing the tools for self-destruction and the degradation of our most cherished values.

Edited by Yaron Ezrahi, Everett Mendelsohn, and Howard P. Segal, this intellectually rigorous anthology examines the paradoxes and contradictions inherent in contemporary technological society through a postmodern lens. The contributors explore how technology shapes human experience, culture, and social structures in the late twentieth century, questioning the foundational narratives of technological progress and enlightenment that have dominated Western thought.

A century before the arrival of Stephen F. Austin's colonists, Spanish settlers from Mexico were putting down roots in Texas. From San Antonio de Bexar and La Bahia (Goliad) northeastward to Los Adaes and later Nacogdoches, they formed communities that evolved their own distinct "Tejano" identity.

In Tejano Journey, 1770-1850, Gerald Poyo and other noted borderlands historians track the changes and continuities within Tejano communities during the years in which Texas passed from Spain to Mexico to the Republic of Texas and finally to the United States. The authors show how a complex process of accommodation and resistance—marked at different periods by Tejano insurrections, efforts to work within the political and legal systems, and isolation from the mainstream—characterized these years of changing sovereignty.

While interest in Spanish and Mexican borderlands history has grown tremendously in recent years, the story has never been fully told from the Tejano perspective. This book complements and continues the history begun in Tejano Origins in Eighteenth-Century San Antonio, which Gerald E. Poyo edited with Gilberto M. Hinojosa.

While the flags of Spain, Mexico, the Republic of Texas, and the United States successively flew over San Antonio, its Tejano community (Texans of Spanish or Mexican descent) formed a distinct ethnic identity that persisted despite rapid social and cultural changes. In this pioneering study, Timothy Matovina explores the central role of Tejano Catholicism in forging this unique identity and in binding the community together.

The first book-length treatment of the historical role of religion in a Mexican-origin community in the United States, this study covers three distinct periods in the emergence of Tejano religious and ethnic identity: the Mexican period (1821-1836), the Texas Republic (1836-1845), and the first decade and a half after annexation into the United States (1845-1860). Matovina's research demonstrates how theories of unilateral assimilation are inadequate for understanding the Tejano community, especially in comparison with the experiences of European immigrants to the United States.

As residents of the southwestern United States continue to sort out the legacy of U.S. territorial expansion in the nineteenth century, studies like this one offer crucial understanding of the survival and resilience of Latino cultures in the United States. Tejano Religion and Ethnicity will be of interest to a broad popular and scholarly audience.

Winner, John Brinckerhoff Jackson Prize, Association of American Geographers

On the plains between the San Antonio River and the Rio Grande lies the heartland of what is perhaps the largest ethnic region in the United States, Tejano South Texas. In this cultural geography, Daniel Arreola charts the many ways in which Texans of Mexican ancestry have established a cultural province in this Texas-Mexico borderland that is unlike any other Mexican American region.

Arreola begins by delineating South Texas as an environmental and cultural region. He then explores who the Tejanos are, where in Mexico they originated, and how and where they settled historically in South Texas. Moving into the present, he examines many factors that make Tejano South Texas distinctive from other Mexican American regions—the physical spaces of ranchos, plazas, barrios, and colonias; the cultural life of the small towns and the cities of San Antonio and Laredo; and the foods, public celebrations, and political attitudes that characterize the region. Arreola's findings thus offer a new appreciation for the great cultural diversity that exists within the Mexican American borderlands.

Television Is Where You Find It is a revelatory journey into the overlooked world of feature filmmakers who brought their cinematic vision to the small screen between 1955 and 1990—long before directing for television became trendy in the age of “Prestige TV.” With ten compelling case studies—from legends like Alfred Hitchcock, David Lynch, and Orson Welles to trailblazers like Ida Lupino, Melvin Van Peebles, and Martin Scorsese—author Craig S. Simpson uncovers how these directors reshaped the language of television with style and imagination.

Far from simply dabbling in a “lesser” medium, these filmmakers pushed the boundaries of what TV could do, crafting bold, innovative work that challenges the old notion that television belongs solely to writers and producers. In this fresh, critical study, Television Is Where You Find It makes a case for rediscovering and reevaluating a rich chapter of television history—one in which cinematic artistry quietly flourished, often hidden in plain sight.

A CHOICE Outstanding Academic Book

Flip through the channels at any hour of the day or night, and a television talk show is almost certainly on. Whether it offers late-night entertainment with David Letterman, share-your-pain empathy with Oprah Winfrey, trash talk with Jerry Springer, or intellectual give-and-take with Bill Moyers, the talk show is one of television's most popular and enduring formats, with a history as old as the medium itself.

Bernard Timberg here offers a comprehensive history of the first fifty years of television talk, replete with memorable moments from a wide range of classic talk shows, as well as many of today's most popular programs. Dividing the history into five eras, he shows how the evolution of the television talk show is connected to both broad patterns in American culture and the economic, regulatory, technological, and social history of the broadcasting industry. Robert Erler's "A Guide to Television Talk" complements the text with an extensive "who's who" listing of important people and programs in the history of television talk.

Fieldwork from across Afghanistan allowed Osman to record the voices of many Afghan media producers and people. Afghans offer their own seldom-heard views on the country's cultural progress and belief systems, their understandings of themselves, and the role of international interventions. Osman analyzes the impact of transnational media and foreign funding while keeping the focus on local cultural contestations, productions, and social movements. As a result, she redirects the global dialogue about Afghanistan to Afghans and challenges top-down narratives of humanitarian development.

Folio 46r from Codex Telleriano-Remensis was created in the sixteenth century under the supervision of Spanish missionaries in central Mexico. As an artifact of seismic cultural and political shifts, the manuscript painting is a singular document of indigenous response to Spanish conquest. Examining the ways in which the folio's tlacuilo (indigenous painter/writer) creates a pictorial vocabulary, this book embraces the place "outside" history from which this rich document emerged.

Applying contemporary intellectual perspectives, including aspects of gender, modernity, nation, and visual representation itself, José Rabasa reveals new perspectives on colonial order. Folio 46r becomes a metaphor for reading the totality of the codex and for reflecting on the postcolonial theoretical issues now brought to bear on the past. Ambitious and innovative (such as the invention of the concepts of elsewheres and ethnosuicide, and the emphasis on intuition), Tell Me the Story of How I Conquered You embraces the performative force of the native scribe while acknowledging the ineffable traits of 46r—traits that remain untenably foreign to the modern excavator/scholar. Posing provocative questions about the unspoken dialogues between evangelizing friars and their spiritual conquests, this book offers a theoretic-political experiment on the possibility of learning from the tlacuilo ways of seeing the world that dislocate the predominance of the West.

The life and times of Ana Margarita Gasteazoro: political activist, clandestine operative, and prisoner of conscience.

Ana Margarita Gasteazoro (1950–1993) was a Salvadoran opposition activist and renowned Amnesty International prisoner of conscience. Tell Mother I’m in Paradise:Memoirs of a Political Prisoner in El Salvador recounts her extraordinary life story. From a privileged Catholic upbringing, with time spent studying and working abroad, Ana Margarita first became a member of the legal political opposition in the late 1970s and later a clandestine operative at work against the brutal military junta.

Gasteazoro recounts her early rebellion against the strictures of conservative upper-class Salvadoran society. She spoke perfect English and discovered a talent for organizing in administrative jobs abroad and at home. As the civil war progressed, she quickly became a valued figure in the National Revolutionary Movement (MNR), a social democratic party, often representing it at international meetings. Against the backdrop of massive social oppression and the “disappearances” of thousands of opposition members, Gasteazoro began a double life as an operative in a faction of the Farabundo Martí National Liberation Front (FMLN). Multitalented and energetic, she organized safe houses for fellow activists, transported weapons and equipment, wrote scripts for an underground radio station, and produced an award-winning documentary film. But the toll on her family life and personal relationships was heavy.

Ana Margarita was disappeared in May 1981 by the infamous National Guard and endured a nightmare 11 days of interrogations, beatings, and abuse. Through international pressure and the connections of her family, her arrest was finally made public, and she was transferred to the women’s prison at Ilopango. There, she and other activists continued the political struggle through the Committee of Political Prisoners of El Salvador (COPPES). During her two years in prison, tested by hunger strikes, violence, and factional divisions, she became one of Amnesty International’s best-known prisoners of conscience. Tell Mother I’m in Paradise is a gripping story of a self-aware activist and a vital young woman’s struggle to find her own way within a deeply conservative society.
 

 "This artful combination of memoir and selected essays reawakens our memory of Father O'Connell in all his immense personal charm, intellectual energy, rich erudition, keen wit, and steadfast dedication to his interlocking callings as priest and historian." —J. Philip Gleason, Emeritus Professor, History Department, University of Notre Dame

"The work of a master historian, these memoirs and essays are reliable in recounting what happened, insightful in judging how and why, and eloquent in presenting it all with a flair and wit rarely equaled in historical writing. Moreover, they come forth from a Catholic faith so deep and secure that it need not be imposed on the reader. Rather, they do what good historical writing does, placing the reader into a past that can be seen and felt, recognized and understood. Whether it be his colorful accounts of the tumultuous life and times of Thomas More, or the valiant struggles of Newman and the Oxford Movement, or his own seminary training and teaching in St. Paul, or his fortunes as a graduate student at Notre Dame under the tutelage of the eminent Monsignor Phillip Hughes—whatever the topic, reading O’Connell’s history gives one the gift of being able to say, I remember that happening and I wasn’t even there!"—Michael J. Baxter, Director of Catholic Studies, Regis University in Denver

"O'Connell was a master story teller. He was not, however, just a story teller. He was painstakingly rigorous in what and how he taught. His stories always perfectly illustrated a point, but they were never a substitution for the truth--rather an illustration of it." —Bradley Birzer, Russell Amos Kirk Chair in American Studies, Hillsdale College