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The most important national commemoration of the twentieth century, the 1976 bicentennial celebration gave rise to a broad-ranging debate over how the American Revolution should be remembered and represented. Federal planners seeking an uncritical glorification of the nation's founding came up against an array of constituencies with other interests and objectives. Inspired by the “new social history” that looked at the past “from the bottom up,” Americans who had previously been disenfranchised by traditional national narratives—African Americans, women, American Indians, workers, young people—demanded a voice and representation in the planning. Local communities, similarly suspicious of federal direction, sought control over their own bicentennial events. Corporate representatives promoted an approach that championed the convergence of patriotism and private enterprise, while commercial interests applied the marketing techniques of an expanding consumerism to hawk every imaginable kind of patriotic souvenir to all of these groups.

The end result of these competing efforts, Tammy S. Gordon shows, was a national celebration that reflected some common themes, including a mistrust of federal power, an embrace of decentralized authority, and a new cultural emphasis on the importance of the self. The American Revolution Bicentennial can thus be seen as both a product of the social and political changes of the 1960s and a harbinger of things to come. After 1976, the postwar myth of a consensus view of American history came to an end, ensuring that future national commemorations would continue to be contested.

The story of Texas’s impact on American sports culture during the civil rights and second-wave feminist movements, this book offers a new understanding of sports and society in the state and the nation as a whole.

In the 1960s and 1970s, America experienced a sports revolution. New professional sports franchises and leagues were established, new stadiums were built, football and basketball grew in popularity, and the proliferation of television enabled people across the country to support their favorite teams and athletes from the comfort of their homes. At the same time, the civil rights and feminist movements were reshaping the nation, broadening the boundaries of social and political participation. The Sports Revolution tells how these forces came together in the Lone Star State.

Tracing events from the end of Jim Crow to the 1980s, Frank Guridy chronicles the unlikely alliances that integrated professional and collegiate sports and launched women’s tennis. He explores the new forms of inclusion and exclusion that emerged during the era, including the role the Dallas Cowboys Cheerleaders played in defining womanhood in the age of second-wave feminism. Guridy explains how the sexual revolution, desegregation, and changing demographics played out both on and off the field as he recounts how the Washington Senators became the Texas Rangers and how Mexican American fans and their support for the Spurs fostered a revival of professional basketball in San Antonio. Guridy argues that the catalysts for these changes were undone by the same forces of commercialization that set them in motion and reveals that, for better and for worse, Texas was at the center of America’s expanding political, economic, and emotional investments in sport.

The State You See uncovers a racial gap in the way the American government appears in people’s lives. It makes it clear that public policy changes over the last fifty years have driven all Americans to distrust the government that they see in their lives, even though Americans of different races are not seeing the same kind of government.

For white people, these policy changes have involved a rising number of generous benefits submerged within America’s tax code, which taken together cost the government more than Social Security and Medicare combined. Political attention focused on this has helped make welfare and taxes more visible representations of government for white Americans. As a result, white people are left with the misperception that government does nothing for them, apart from take their tax money to spend on welfare. Distrust of government is the result. For people of color, distrust is also rampant but for different reasons. Over the last fifty years, America has witnessed increasingly overbearing policing and swelling incarceration numbers. These changes have disproportionately impacted communities of color, helping to make the criminal legal system a unique visible manifestation of government in these communities.

While distrust of government emerges in both cases, these different roots lead to different consequences. White people are mobilized into politics by their distrust, feeling that they must speak up in order to reclaim their misspent tax dollars. In contrast, people of color are pushed away from government due to a belief that engaging in American elections will yield the same kind of unresponsiveness and violence that comes from interactions with the police. The result is a perpetuation of the same kind of racial inequality that has always been present in American democracy. The State You See is essential reading for anyone interested in understanding how the American government engages in subtle forms of discrimination and how it continues to uphold racial inequality in the present day.

How artists challenged a military dictatorship through mass print technologies in 1970s and 1980s São Paulo.

Throughout the 1970s and into the 1980s, during Brazil's military dictatorship, artists shifted their practices to critique the government and its sanitized images of Brazil, its use of torture, and its targeted persecutions. Mari Rodríguez Binnie's The São Paulo Neo-Avant-Garde examines these artworks and their engagement with politics and mainstream art institutions and practices.

As Binnie skillfully shows, artists appropriated processes like photocopy, offset lithography, and thermal and heliographic printing, making newly available technologies of mass production foundational to their work of resistance against both the dictatorship and the established art world. Often working collaboratively, these artists established alternative networks of exchange locally and internationally to circulate their work. As democracy was reestablished in Brazil, and in the decades that followed, their works largely fell out of sight. Here, in the first English-language book to focus entirely on conceptual practices in São Paulo in the 1970s and 1980s, Binnie unearths a scene critical to the development of contemporary Brazilian Art.

An exploration of gender, race, and food in Peru in the 1950s and 1960s and today.

From the late 1940s to the mid 1960s, Peru’s rapid industrialization and anti-communist authoritarianism coincided with the rise of mass-produced cookbooks, the first televised cooking shows, glossy lifestyle magazines, and imported domestic appliances and foodstuffs. Amy Cox Hall’s The Taste of Nostalgia uses taste as a thematic and analytic thread to examine the ways that women, race, and the kitchen were foundational to Peruvian longings for modernity, both during the Cold War and today.

Drawing on interviews, personal stories, media images, and archival and ethnographic research, Cox Hall considers how elite, European-descended women and the urban home were central to Peru’s modernizing project and finds that all women who labored within the deeply racialized and gendered world of food helped set the stage for a Peruvian food nationalism that is now global in the twenty-first century. Cox Hall skillfully connects how the sometimes-unsavory tastes of the past are served again in today’s profitable and pervasive gastronostalgia that helps sell Peru and its cuisine both at home and abroad.

During the 1960s, the SNCC Freedom Singers, The Living Theatre, the Diggers, the Art Workers Coalition, and the Guerrilla Art Action Group fused art and politics by staging unexpected and uninvited performances in public spaces. Through their activism and the response it provoked, art, theater, and politics began to converge and assume a new visibility in everyday life. While their specific political visions varied, these groups shared the impulse to stage performances and actions publicly—"in the streets"—eschewing museums, theaters, and other conventional halls of culture. Bradford D. Martin offers detailed portraits of each of these groups and examines why they embraced public performance as a vehicle to express and advance their politics. 

At a time when the New Left and the counterculture were on the rise, these artists reflected the decade's political and cultural radicalism and helped to define a new aesthetic. Civil rights activists mobilized singing in the struggle for desegregation, introducing a vibrant musical form into the public space. The Living Theatre culminated an arduous quest to mesh artistic and political goals, leading audiences from theaters into the streets to begin the “beautiful nonviolent anarchist revolution.” The Diggers playfully engaged San Francisco's counterculture in politics with their carnivalesque public actions. The Art Workers Coalition and the Guerrilla Action Art Group sought to disrupt the conventional art world, mounting protests in and around New York City museums.

By questioning the values and assumptions that separated art from politics, these groups not only established public performance as a legitimate aesthetic but also provided a new creative vocabulary for future generations of artists. Their continued involvement with the women's liberation movement, rural communes, and political street theater into the 1970s and beyond challenges the popular myth that activists disengaged from politics after the 1960s.

Examines how the politics of the theater can illuminate the theatricality of politics

Theatricality is often dismissed as a distraction from “real” politics, as when cynical political gestures are derided as “pure theater” or “only theater.” But the artists and theater companies discussed in this book, including Back to Back Theatre, Tim Crouch, Rabih Mroué, Nature Theater of Oklahoma, and Christoph Schlingensief, take a different approach. Theron Schmidt argues that they represent a “theatricalist turn” that explores and tests the conditions of the theater itself. Across diverse contexts of political engagement, ranging from disability rights to representations of violence, these theatrical conditions are interconnected with political struggles, such as those over who is seen and heard, how labor is valued, and what counts as “political” in the first place. In a so-called post-political era, The Theatricalists argues that an examination of theater’s internal politics can expand our understanding of the theatricality of politics more broadly.

How building codes shaped material, social, and environmental landscapes in American cities.

Almost every American city contains neighborhoods dominated by wood frame construction—light, cheap, combustible, and requiring the lowest upfront investment of labor and material in the building industry. Known as a Type V (five) construction in the terminology of building codes, these buildings became ubiquitous in the American urban landscape thanks to the abundance of timber, housing affordability aspirations, and the adoption of a uniform code.

In The Type V City, Jeana Ripple examines the social and spatial history of building codes and material patterns in five cities—New York, Tampa, Chicago, Philadelphia, and Seattle—to reframe the stories of America’s building priorities, methods, negotiations, and assumptions. By examining the development of building materials and codes alongside the environmental, social, economic, and political context of each city’s development, Ripple reveals previously overlooked connections between the power structures underpinning regulatory evolution and the impacts that lay just beyond the frame of city builders’ priorities. Handsomely illustrated and informed by both archival research and insights enabled by contemporary data analysis, The Type V City critiques the homogenous construction practices underlying US urbanization and raises pointed questions for future generations of data-driven city planners and architects.

The United States spearheaded the creation of many international organizations and treaties after World War II and maintains a strong record of compliance across several issue areas, yet it also refuses to ratify major international conventions like the UN Convention on the Law of the Sea and the Convention on the Elimination of All Forms of Discrimination Against Women. Why does the United States often seem to support international law in one way while neglecting or even violating it in another?

The United States and International Law: Paradoxes of Support across Contemporary Issues analyzes the seemingly inconsistent U.S. relationship with international law by identifying five types of state support for international law: leadership, consent, internalization, compliance, and enforcement. Each follows different logics and entails unique costs and incentives. Accordingly, the fact that a state engages in one form of support does not presuppose that it will do so across the board. The contributors to this volume examine how and why the United States has engaged in each form of support across twelve issue areas that are central to twentieth- and twenty-first-century U.S. foreign policy: conquest, world courts, war, nuclear proliferation, trade, human rights, war crimes, torture, targeted killing, maritime law, the environment, and cybersecurity. In addition to offering rich substantive discussions of U.S. foreign policy in each of these areas, their findings reveal patterns across the U.S. relationship with international law that shed light on behavior that often seems paradoxical at best, hypocritical at worst. The results help us understand why the United States engages with international law as it does, the legacies of the Trump administration, and what we should expect from the United States under the Biden administration and beyond.

Co-Winner of the 2024 ACLA Renè Wellek Prize for Monograph 

The emergence of the alphabet in ancient Greece, usually heralded as the first step in the inexorable march toward reason and progress, in fact signaled the introduction of a chance technology that hijacked the future, with devastating consequences for humanity. By investigating an array of cultural artifacts, ranging from Kubrick's 2001: A Space Odyssey to the Oracle at Delphi to Luther's challenge to the Church, this book demonstrates how the apparently benign emergence of writing made possible far-ranging systems of organized domination and unprecedented levels of violence. The Violence of the Letter considers how a twenty-six-letter code changed the face of the world, and not always for the better.

A collection of essays whose authors reach beyond simple definitions of citizenship as determined by documents and legal rights

The scholarly conference from which this publication emerged was circulated in the waning months of 2018, following a summer of urgent and emotional debate surrounding new US immigration policies regarding immigrant family separations, arguments fueled on one side by fears about the loss of social cohesion, and on the other by photographs of incarcerated children. Given the then-prevailing political atmosphere, editor Andrew Gibb anticipated that a good number of submissions might draw connections between the patterns, policies, and histories of immigration on the one hand, and theatrical or otherwise performance-centered expressions of citizenship, whether inclusive or exclusionary, on the other. In retrospect, what could have been foreseen is that theatre scholars, educators, and professionals would interpret recent events against a wider and more complex backdrop. The ultimate result of that initial call is this volume, a collection of essays whose authors reach beyond simple definitions of citizenship as determined by documents and legal rights, and who engage in larger conversations about what citizenship can mean, and how such meanings are expressed through theatre and performance.

Interestingly, while none of the authors published herein take up immigration as a central issue, they all make use of some combination of three particular analytical frameworks, all of which happen to be pertinent to the current immigrant experience and attempts to regulate it: bodies, institutions, and technologies.