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Bandits, Captives, Heroines, and Saints investigates cultural icons of the late nineteenth century from Mexico’s largely unstudied northwest borderlands, present-day Sonora, Baja California, and western Chihuahua. Robert McKee Irwin looks at popular figures such as Joaquín Murrieta, the gold rush social bandit; Lola Casanova, the anti-Malinche, whose marriage to a Seri Indian symbolized a forbidden form of mestizaje; and la Santa de Cabora, a young faith healer who inspired armed insurgencies and was exiled to Arizona.

Cultural icons such as Murrieta, Lola Casanova, and la Santa de Cabora are products of intercultural dialogue, Irwin reveals, and their characterizations are unstable. They remain relevant for generations because there is no consensus regarding their meanings, and they are weapons in struggles of representation in the borderlands. The figures studied here are especially malleable, he argues, because they are marginalized from the mainstream of historiography.

A timely analysis, Bandits, Captives, Heroines, and Saints challenges current paradigms of border studies and presents a rich understanding of the ways in which cultural icons influence people’s minds and lives.

Robert McKee Irwin is associate professor of Spanish at the University of California, Davis, and the author of Mexican Masculinities (Minnesota, 2003).

What are the implications for Americans when actors who play doctors on television endorse medical products, or when an entire town in the Midwest prepares for an earthquake based on the specious advice of a zoologist? These are just two of the many questions Christopher Toumey asks in his investigation of the role of science in American culture. Toumey focuses on the ways in which the symbols of science are employed to signify scientific authority in a variety of cases, from the selling of medical products to the making of public policy about AIDS/HIV––a practice he calls "conjuring" science. It is this "conjuring" of the images and symbols of scientific authority that troubles Toumey and leads him to reflect on the history of public understanding and perceptions of science in the United States. He argues that while most Americans invest a great deal of authority in science, there is a vacuum of understanding about scientific knowledge. This gap between belief and understanding greatly influences public policy decisions and democratic processes.           

Toumey argues that instead of comprehending scientific knowledge, methods, or standards, most Americans know science only in terms of symbols that stand for science and that stand between people and scientific understanding. He breaks this paradox down into three questions. First, what are the historical conditions that have caused the culture of science to be so estranged from other parts of American culture? Second, how does science fit into American democratic culture today? And third, if the symbols of science are being used to endorse or legitimize certain values and meanings, but not the values and meanings of science, then to what do they refer?            

In witty, readable prose, Toumey investigates these questions by presenting five episodes of science in American life: the fluoridation controversies; the 1986 California referendum on AIDS/HIV policy; the cold fusion controversy; the anti-evolution of creationism; and the mad- scientist stories of fiction and film.     

Obsessive Images was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

As Mark Schorer comments, this is "the last, unfinished work of a distinguished, well loved critic, poet, and professor." After the death of Joseph Warren Beach, his colleague and friend William Van O'Connor, professor of English at the University of Minnesota, prepared the unfinished manuscript of this work for publication and wrote the foreword.

The work is primarily a study of certain words, phrases, and images that turn up with unusual frequency in modern American poetry, especially that of the decades of the 1930's and 1940's, and which are used in unusual senses, to carry special symbolisms, or to imply peculiar philosophical attitudes. Since the study is concerned with such recurring images and themes, many poets of distinction, in whose work they are not to be found, are left out, but Professor Beach also discusses the significance of the absence of these poets.

Students and critics will gain insight through this work into the characteristic attitudes of a generation of poets. The book is, moreover, a delight to read, reflecting, as it does, Mr. Beach's own love for the study of poetry. As Professor O'Connor points out, the tone is much more personal than that of Mr. Beach's other books.

Urza discusses the genesis of the National Basque Monument to the Basque Sheepherder that is located in Reno, Nevada. He also describes the competition held to determine the monument's design and the debates arising from the modern sculpture created by renowned Basque artist Nestor Basterrextea. Urza examines the arguments of those who favored the selection of a figurative, traditional symbol and those who preferred a modern, forward-looking symbol. He utilizes this discussion to explore the evolution of Basque ethnicity and its relationship to society.

Art is politics and politics is art in this study of post–World War I caricature art in Egypt and Egyptian politics. This book explores the complex meaning and significance of caricature art drawn to support the ascendant Egyptian Wafdpolitical party and its push for independence from British colonial control. The works of previously neglected Egyptian lithographers are also explored, especially those who adopted sophisticated European techniques while experimenting with a variety of new styles during a remarkable period in Egyptian history.