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All across the humanities fields there is a new interest in materials and materiality. This is the first book to capture and study the "material turn" in the humanities from all its varied perspectives. Cultural Histories of the Material World brings together top scholars from all these different fields--from Art History, Anthropology, Archaeology, Classics, Folklore, History, History of Science, Literature, Philosophy--to offer their vision of what cultural history of the material world looks like and attempt to show how attention to materiality can contribute to a more precise historical understanding of specific times, places, ways, and means. The result is a spectacular kaleidoscope of future possibilities and new perspectives.
The Imprint of Another Life: Adoption Narratives and Human Possibility addresses a series of questions about common beliefs about adoption. Underlying these beliefs is the assumption that human qualities are innate and intrinsic, an assumption often held by adoptees and their families, sometimes at great emotional cost. This book explores representations of adoption--transracial, transnational, and domestic same-race adoption--that reimagine human possibility by questioning this assumption and conceiving of alternatives. Literary scholar Margaret Homans examines fiction making's special relationship to themes of adoption, an "as if" form of family making, fabricated or fictional instead of biological or "real. " Adoption has tended to generate stories rather than uncover bedrock truths. Adoptive families are made, not born; in the words of novelist Jeanette Winterson, "adopted children are self-invented because we have to be. " In attempting to recover their lost histories and identities, adoptees create new stories about themselves. While some believe that adoptees cannot be whole unless they reconnect with their origins, others believe that privileging biology reaffirms hierarchies (such as those of race) that harm societies and individuals. Adoption is lived and represented through an irresolvable tension between belief in the innate nature of human traits and belief in their constructedness, contingency, and changeability. The book shows some of the ways in which literary creation, and a concept of adoption as a form of creativity, manages this tension. The texts examined include fiction (e. g. , classic novels such as Silas Marner, What Maisie Knew, and Beloved); memoirs by adoptees, adoptive parents, and birthmothers; drama, documentary films, advice manuals, social science writing; and published interviews with adoptees, parents, and birth parents. Along the way the book tracks the quests of adoptees who, whether or not they meet their original families, must construct their own stories rather than finding them; follows transnational adoptees as they return, hopes held high, to Korea and China; looks over the shoulders of a generation of girls adopted from China as they watch Disney's iconic Mulan, with its alluring story of destiny written on the skin; and listens to birthmothers as they struggle to tell painful secrets held for decades. This book engages in debates within adoption studies, women's and gender studies, transnational studies, and ethnic studies; it will appeal to literary scholars and critics, including specialists in memoir or narrative theory, and to general readers interested in adoption and in race.
The overriding aim of this groundbreaking volume--whether the subject is vocal ornamentation in 19th-century opera or the collective improvisation of the Grateful Dead--is to give new recognition to performance as the core of musical culture. The collection brings together renowned scholars from performance studies and musicology (including Philip Auslander, David Borgo, Daphne Brooks, Nicholas Cook, Maria Delgado, Susan Fast, Dana Gooley, Philip Gossett, Jason King, Elisabeth Le Guin, Aida Mbowa, Ingrid Monson, Roger Moseley, Richard Pettengill, Joseph Roach, and Margaret Savilonis), with the intent of sparking a productive new dialogue on music as performance. Taking It to the Bridge is on the one hand a series of in-depth studies of a broad range of performance artists and genres, and on the other a contribution to ongoing methodological developments within the study of music, with the goal of bridging the approaches of musicology and performance studies, to enable a close, interpretive listening that combines the best of each. At the same time, by juxtaposing musical genres that range from pop and soul to the classics, and from world music to games and web-mediated performances, Taking It to the Bridge provides an inventory of contrasted approaches to the study of performance and contributes to its developing centrality within music studies.
In this deeply stirring account, Jean Trounstine, who spent 10 years teaching at Framingham (MA) Women's Prison, focuses on six inmates who, each in her own way, discover in the power of Shakespeare a way to transcend the painful constraints of incarceration. Shakespeare Behind Bars is a powerful story about the redemptive power of art and education. Originally published in cloth in 2001, the paperback includes a new foreword that will inspire all teachers who work with students others have deemed unteachable. A new afterword updates readers on the prison art's program -- and the author herself -- since 2001.
Intense attention has been paid to Detroit as a site of urban crisis. This crisis, however, has not only yielded the massive devaluation of real estate that has so often been noted; it has also yielded an explosive production of seemingly valueless urban property that has facilitated the imagination and practice of alternative urbanisms. The first sustained study of Detroit s alternative urban cultures, The Unreal Estate Guide to Detroit initiates a new focus on Detroit as a site not only of urban crisis but also of urban possibility. The Guide documents art and curatorial practices, community and guerilla gardens, urban farming and forestry, cultural platforms, living archives, evangelical missions, temporary public spaces, intentional communities, furtive monuments, outsider architecture, and other work made possible by the ready availability of urban space in Detroit. The Guide poses these spaces as unreal estate: urban territory that has slipped through the free- market economy and entered other regimes of value, other contexts of meaning, and other systems of use. The appropriation of this territory in Detroit, the Guide suggests, offers new perspectives on what a city is and can be, especially in a time of urban crisis. "
Africa s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Space focuses on a remarkable month in the modern history of Africa and in the global history of football. Peter Alegi and Chris Bolsmann are well-known experts on South African football, and they have assembled an impressive team of local and international journalists, academics, and football experts to reflect on the 2010 World Cup and its broader significance, its meanings, complexities, and contradictions. The World Cup s sounds, sights, and aesthetics are explored, along with questions of patriotism, nationalism, and spectatorship in Africa and around the world. Experts on urban design and communities write on how the presence of the World Cup worked to refashion urban spaces and negotiate the local struggles in the hosting cities. The volume is richly illustrated by authors photographs, and the essays in this volume feature chronicles of match day experiences; travelogues; ethnographies of fan cultures; analyses of print, broadcast, and electronic media coverage of the tournament; reflections on the World Cup s private and public spaces; football exhibits in South African museums; and critiques of the World Cup s processes of inclusion and exclusion, as well as its political and economic legacies. The volume concludes with a forum on the World Cup, including Thabo Dladla, Director of Soccer at the University of KwaZulu-Natal, Mohlomi Kekeletso Maubane, a well-known Soweto-based writer and a soccer researcher, and Rodney Reiners, former professional footballer and current chief soccer writer for the Cape Argus newspaper in Cape Town. This collection will appeal to students, scholars, journalists, and fans. Cover illustration: South African fan blowing his vuvuzela at South Africa vs. France, Free State Stadium, Bloemfontein, June 22, 2010. Photo by Chris Bolsmann. "
Adam Sitze meticulously traces the origins of South Africa's Truth and Reconciliation Commission back to two well-established instruments of colonial and imperial governance: the jurisprudence of indemnity and the commission of inquiry. This genealogy provides a fresh, though counterintuitive, understanding of the TRC's legal, political, and cultural importance. The TRC's genius, Sitze contends, is not the substitution of "forgiving" restorative justice for "strict" legal justice but rather the innovative adaptation of colonial law, sovereignty, and government. However, this approach also contains a potential liability: if the TRC's origins are forgotten, the very enterprise intended to overturn the jurisprudence of colonial rule may perpetuate it. In sum, Sitze proposes a provocative new means by which South Africa's Truth and Reconciliation Commission should be understood and evaluated.
"T. R. Hummer grew up in the Deep South and planned to become a musician before he met poetry. This musical influence is visible in his work: he often discusses poetry together with music (and sometimes the other way around), and his career has included both writing and performance. The present volume, Available Surfaces, focuses on the art of making both poetry and music and on the concept of "making" as well. Hummer draws on childhood experiences ("A Length of Hemp Rope"), adult experiences ("Hotel California"), experiences as a poet ("Available Surfaces"), and experiences as an explorer of unworldly spaces ("The Hive," "Brain Wave and the End of Science Fiction"). Hummer has published ten volumes of poetry with presses including Louisiana State University Press and the University of Illinois Press. His work has appeared in two anthology volumes published by Simon & Schuster and Cengage and in two Pushcart Prize anthologies. He has edited the Kenyon Review, the Georgia Review, and the Cimarron Review, among other journals. "--
In the nineteenth century, long before film and television arrived to electrify audiences with explosions, car chases, and narrow escapes, it was America's theaters that offered audiences such thrills, with "sensation scenes" of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. In Spectacles of Reform , Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing that spectacle plays a crucial role in American activism. By examining how theater producers and political groups harnessed its power and appeal, Hughes suggests that spectacle was--and remains--central to the dramaturgy of reform. Engaging evidence from lithographs to children's books to typography catalogs, Hughes traces the cultural history of three famous sensation scenes--the drunkard suffering from the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks--assessing how they conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today's producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Consequently, Spectacles of Reform will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U. S. citizens saw themselves and their world during a pivotal period in American history.
Process-tracing in social science is a method for studying causal mechanisms linking causes with outcomes. This enables the researcher to make strong inferences about how a cause (or set of causes) contributes to producing an outcome. Derek Beach and Rasmus Brun Pedersen introduce a refined definition of process-tracing, differentiating it into three distinct variants and explaining the applications and limitations of each. The authors develop the underlying logic of process-tracing, including how one should understand causal mechanisms and how Bayesian logic enables strong within-case inferences. They provide instructions for identifying the variant of process-tracing most appropriate for the research question at hand and a set of guidelines for each stage of the research process.
The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry. Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedy makes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama. " Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
Between the Middle East and the Americas: The Cultural Politics of Diaspora traces the production and circulation of discourses about "the Middle East" across various cultural sites, against the historical backdrop of cross-Atlantic Mahjar flows. The book highlights the fraught and ambivalent situation of Arabs/Muslims in the Americas, where they are at once celebrated and demonized, integrated and marginalized, simultaneously invisible and spectacularly visible. The essays cover such themes as Arab hip-hop's transnational imaginary; gender/sexuality and the Muslim digital diaspora; patriotic drama and the media's War on Terror; the global negotiation of the Prophet Mohammad cartoons controversy; the Latin American paradoxes of Turcophobia/Turcophilia; the ambiguities of the bellydancing fad; French and American commodification of Rumi spirituality; the reception of Iranian memoirs as cultural domestication; and the politics of translation of Turkish novels into English. Taken together, the essays analyze the hegemonic discourses that position "the Middle East" as a consumable exoticized object, while also developing complex understandings of self-representation in literature, cinema/TV, music, performance, visual culture, and digital spaces. Charting the shifting significations of differing and overlapping forms of Orientalism, the volume addresses Middle Eastern diasporic practices from a transnational perspective that brings postcolonial cultural studies methods to bear on Arab American studies, Middle Eastern studies, and Latin American studies. Between the Middle East and the Americas disentangles the conventional separation of regions, moving beyond the binarist notion of "here" and "there" to imaginatively reveal the thorough interconnectedness of cultural geographies.
As New York and Paris began to modernize, new modes of entertainment, such as panoramas, dioramas, and photography, seemed poised to take the place of the more complex forms of literary expression. Dioramas and photography were invented in Paris but soon spread to America, forming part of an increasingly universal idiom of the spectacle. This brave new world of technologically advanced but crudely mimetic spectacles haunts both Whitman's vision of New York and Baudelaire's view of Paris. In New York-Paris, Katsaros explores the images of the mid-nineteenth-century city in the poetry of both Whitman and Baudelaire and seeks to demonstrate that, by projecting an image of the other's city onto his own, each poet tried to resist the apparently irresistible forward momentum of modernity rather than create a paradigmatically happy mixture of "high" and "low" culture.
In the nineteenth and early twentieth centuries, representations of Poland and the Slavic East cast the region as a primitive, undeveloped, or empty space inhabited by a population destined to remain uncivilized without the aid of external intervention. These depictions often made direct reference to the American Wild West, portraying the eastern steppes as a boundless plain that needed to be wrested from the hands of unruly natives and spatially ordered into German-administrated units. While conventional definitions locate colonial space overseas, Kristin Kopp argues that it was possible to understand both distant continents and adjacent Eastern Europe as parts of the same global periphery dependent upon Western European civilizing efforts. However, proximity to the source of aid translated to greater benefits for Eastern Europe than for more distant regions.
This book is a pioneering contribution to the history of the founding of the West German political system after the Second World War. The political cooperation between Catholics and Protestants that resulted in the formation of the Christian Democratic Union (CDU) in occupied and early West Germany represented a significant change from a long history of hostility in confessional relations. Given that the CDU went on to dominate politics in West Germany well into the 1960s, Maria D. Mitchell argues that an understanding of what made this interconfessional party possible is crucial to an exploration of German history in the postwar period. She examines the political history of party formation as well as the religious beliefs and motivations that shaped the party's philosophy and positions. She provides an authoritative guide to the complex processes of maneuvering and negotiation that produced the CDU during 1945-46. The full range of political possibilities is discussed, including the suppressed alternatives to the Adenauer/Erhard axis that eventually defined the party's trajectory during the 1950s and the abortive Christian Socialism associated with Jacob Kaiser.
Playwright and actor David Greenspan has been a leading figure in Manhattan's downtown performance scene for over twenty years. His numerous accolades include a Guggenheim fellowship and four Obie Awards for his acting and writing, and most recently a fifth Obie for Sustained Achievement. Tony Kushner once declared Greenspan "probably all-around the most talented theater artist of my generation," and the New York Times has called his performances "irresistible. " The Myopia and Other Plays brings together five of Greenspan's most important works, accompanied by a critical introduction and new interview with the playwright. Greenspan's work---often semiautobiographical, always psychologically intense---deals with issues of memory, family, doubt, and sexuality. The plays in this collection take particular interest in the motivations for erotic and aesthetic expression, forces inextricably linked in Greenspan's world. Critic and scholar Marc Robinson's informative introduction and lively interview with Greenspan further increase the collection's appeal to lovers of inventive playwriting, as well as students and scholars in the fields of Performance Studies, English, American Studies, and LGBT Studies.
The Roman writer Cornelius Nepos was a friend of Cicero and Catullus and other first-century BCE authors, and portions of his encyclopedic work On Famous Men are the earliest surviving biographies written in Latin. In The Political Biographies of Cornelius Nepos, Rex Stem presents Nepos as a valuable witness to the late Republican era, whose biographies share the exemplary republican political perspective of his contemporaries Cicero and Livy. Stem argues that Nepos created the genre of grouped political biographies in order to characterize renowned Mediterranean figures as role models for Roman leaders, and he shows how Nepos invested his biographies with moral and political arguments against tyranny. This book, the first to regard Nepos as a serious thinker in his own right, also functions as a general introduction to Nepos, placing him in his cultural context. Stem examines Nepos' contributions to the growth of biography, and he defends Nepos from his critics at the same time that he lays out the political significance and literary innovation of Nepos' writings. Accessible to advanced undergraduates, this volume is addressed to a general audience of classicists and ancient historians, as well as those broadly interested in biography, historiography, and political thought.
Michigan Studies in International Political Economy Series Editors: Edward Mansfield, University of Pennsylvania; Lisa Martin, University of Wisconsin-Madison; and William Clark, University of Michigan For decades, free trade was advocated as the vehicle for peace, prosperity, and democracy in an increasingly globalized market. More recently, the proliferation of foreign direct investment has raised questions about its impact upon local economies and politics. Here, seven scholars bring together their wide-ranging expertise to investigate the factors that determine the attractiveness of a locale to investors and the extent of their political power. Multinational corporations prefer to invest where legal and political institutions support the rule of law, protections for property rights, and democratic processes. Corporate influence on local institutions, in turn, depends upon the relative power of other players and the types of policies at issue. Book jacket.
A new collection of essays from one of the most courageous and honest thinkers writing today "The question of the public intellectual is very much in the air again," writes Alan Wolfe. As one of our eminent social commentators, Wolfe should know; he's been writing, with fierce intellectual independence, about American public and private life since the 1960s. In this new collection of essays spanning seven years of contributions to The New Republic, The New Yorker, Atlantic Monthly, and other prominent publications, Wolfe displays the courage necessary to write honestly--yet free of ideology, cant, and piety--about the things Americans take very seriously. Wolfe thinks big; indeed, the essays in An Intellectual in Public confront many of the most controversial issues of our time: country, God, race, sex, material consumption, and left and right. Beginning and ending the book are original essays describing the public intellectual's role, and how Wolfe believes that role ought to be filled. An Intellectual in Public is not only a demonstration of Wolfe's pointed analytical skills but a testament to his belief that "severely ideological thinking" is inappropriate for some of our most difficult problems, and that "neither the right nor the left can speak for all of America. " Alan Wolfe is the director of the Boisi Center for Religion and American Public Life and also Professor of Political Science at Boston College. He is the author of over a dozen books, including One Nation After All: What Middle Class Americans Really Think About: God, Country, Family, Racism, Welfare, Immigration, Homosexuality, Work, the Right, the Left and Each Other.
The long-awaited first novel by the award-winning author of two impressive story collections explores the sinister side of desire in Bakersfield, California, circa 1959, when a famous director arrives to scout locations for a film about madness and murder at a roadside motel. Unfolding in much the same way that Hitchcock made Psycho-frame by frame, in pans, zooms, and close-ups-Mun~oz's re-creation of a vanished era takes the reader into places no camera can go, venturing into the characters' private thoughts, petty jealousies, and unrealized dreams. The result is a work of stunning originality.
[from the back cover] "THE D.A. DRAWS TWO CIRCLES Selby narrowed the compass so that it would draw a circle a scant half inch in diameter. Slowly, deliberately he drew a circle around a point on the map. "There, Carr, is your limit. Stay within that circle, and you won't be molested. Start moving around outside of it, and you'll wish you hadn't." With these words Douglas Selby brought to an end one of the most baffling cases the young District Attorney of Madison County had been called upon to solve--a case that had begun with a blood-stained suit reported by a driver for the Acme Cleaners & Dyers. A naked man was found dead in a barranca out at Orange Heights, shot twice in exactly the same place. Another man disappeared. Then a speedometer which registered ninety miles for each trip led the D.A. to draw his first circle, and with the help of Sheriff Rex Brandon and reporter Sylvia Martin he forced the hand of a slick and ingenious criminal lawyer and brought to justice a slick and ingenious criminal."
The Constitution states that "no title of nobility shall be granted by the United States," yet it seems political nobility is as American as apple pie.As Hess illustrates, while there always have been dynasties in America, they have not always been the same families: Dynasties are born and dynasties die, their rise and fall is part of the flux of a constantly changing political scene.America was founded in rebellion against nobility and inherited status. Yet from the start, dynastic families have been conspicuous in national politics. The Adamses. The Lodges. The Tafts. The Roosevelts. The Kennedys. And today the Bushes and the Clintons.Longtime presidential historian Stephen Hess offers an encyclopedic tour of the families that have loomed large over America's political history.Starting with John Adams, who served as the young nation's first vice president and earned the nickname "His Rotundity," Hess paints the portraits of the men and women who, by coincidence, connivance, or sheer sense of duty, have made up America's political elite. There are the well-known dynasties such as the Roosevelts and the Kennedys, and the names that live on only in history books, such as the Bayards (six generations of U.S. senators) and the Breckinridges (a vice president, two senators, and six representatives).Hess fills the pages of America's Political Dynasties with anecdotes and personality-filled stories of the families who have given the United States more than a fair share of its presidents, senators, governors, ambassadors, and cabinet members.This book also tells us the stories of the Bushes and what looks to be a political dynasty in waiting, the Clintons. Emblematic of America's growing diversity, Hess also examines how women, along with ethnic and racial minorities, have joined the ranks of dynastic political families.
Contains 12 stories of science fiction by a great writer including: In the Problem Pit; Let the Ants Try; To See Another Mountain; The Deadly Mission of Phineas Snodgrass; Golden Ages Gone Away; Rafferty's Reasons; I Remember a Winter; The Schematic Man; What to Do Until the Analyst Comes; Some Joys under the Star; The Man Who Ate the World; SF: The Game Playing Literature.
A fascinating historical novel rides the rapids of a tumultuous father-daughter relationship as the spirited young Hattie, disguised as a boy, joins her widowed pa and his rafting crew on a perilous logging voyage. Pa used to call Ma and me his girls. Now, he just says "girl," orders me around with curse words like I'm nothing. I'm not nothing, though, 'cause I feel too mean inside to be that. The year is 1883, Hattie's ma has died, and it seems that she took with her the sugar that kept Hattie and Pa sweet. Just when Hattie thinks things can't get any worse, Pa stops calling her "girl" altogether and wants her to dress as a boy and help him on his next river-rafting trip. Soon eleven-year-old Hattie finds herself alongside Pa and two other Hill Hawks - loners who live life on their own terms up in the hills - shipping logs down the dangerous Delaware. On the angry river, Hattie's pluck is sorely tested as she fields Pa's criticism, plunges over waterfalls, and tries to keep the rowdy river men from discovering her secret. Gritty and full of heart, Clara Gillow Clark's historical novel will leave readers breathless as it surges along the complex, emotional journey of a father and daughter. It's a powerful story of how death can undo a family - and how, against all likelihood, it can bind them together.
The place is New York City's Greenwich Village. The corpse is found holding eleven pink roses. The suspects are as strange as the crime. And the detective just happens to be a country singer named Kinky Friedman... This is the first of Kinky Friedman's mystery novels. To quote the author: "Greenwich Killing Time was the first book I ever wrote. I wrote it in 1984 and it was published in 1986. I was doing a lot of Peruvian marching powder at the time so I don't remember too much about writing it, but I do recall a couple of things. I borrowed the title from my friend Ted Mann. I borrowed the typewriter, an old Smith-Corona, from my friend, the future Village Irregular, Mike McGovern. Mike graciously loaned me the typewriter claiming he'd missed many important deadlines with the instrument. It had, I later learned, once belonged to his mother before she'd been bugled to Jesus years earlier. I took this as a sign of the Lord's hand at work in the world. It could've been, of course, just another case of a Jew borrowing a typewriter. Though most of the books have been set in New York (with the exception of Armadillos and Old Lace, set in Texas, and the soon-to-be-published Steppin' On A Rainbow, set in Hawaii), Greenwich Killing Time is the only one that was written in New York. Some critics have remarked, not unkindly, we hope, that the book smells like New York. If this is true it is no doubt because of the truly visceral voyage one goes through in writing a first novel. It's almost as if your first novel writes you..."
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