A bold addition to an advancing field, Radical Aesthetics and Modern Black Nationalism rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.
Nobel Peace Prize winner Ralph Johnson Bunche (1904-71) was one of the twentieth century’s foremost diplomats and intellectuals. In the wake of centennial celebrations of his birth, leading scholars and diplomats assess Bunche’s historical importance and enduring impact on higher education, public policy, and international politics. Their essays reveal not only the breadth of Bunche’s influence, such as his United Nations work to broker peace during times of civil war in Africa, the Middle East, and Asia, but also the depth of his intellectual perspectives on race, civil rights, higher education, and international law. Probing his publications, speeches, and public policy initiatives, the volume offers telling insights into the critical roles of universities, public intellectuals, and diplomats in working together to find solutions to domestic and international problems through public and scholarly engagement. In this way, the volume highlights the very connections that Bunche exhibited as an academic, intellectual, and diplomat.
Contributors include Lorenzo DuBois Baber, John Hope Franklin, Jonathan Scott Holloway, Charles P. Henry, Ben Keppel, Beverly Lindsay, Princeton Lyman, Edwin Smith, and Hanes Walton Jr.
Literary scholar Ann Ronald gathers her most notable published essays about Nevada, environmental writing, and Western American literature in one volume. These essays reflect Ronald’s wide-ranging interests. Here are deeply informed, critical essays on writers as diverse as Zane Gray, Edward Abbey, Wallace Stegner, and Terry Tempest Williams, as well as the Tonopah Ladies—a group of literary women who found their voices in the unlikely setting of a mining boomtown—and on such varied topics as the image of Reno in nineteenth- and twentieth-century fiction. Included are several recent essays in which Ronald thoughtfully discusses the burgeoning field of environmental writing, some of its principal themes and concerns, and its best-known practitioners.
A provocative new way to read and interpret the classic works of John Muir, Mary Austin, and Gary Snyder, and to bring their ideas into the discussion of ecological values and the current environmental crisis. Lewis combines a perceptive discussion of their work and ideas with an engaging account of his own trail experiences as hiker/backpacker and volunteer trail builder, proposing that such a field-based, interdisciplinary approach to literary study and outdoors experience can enrich our appreciation for the work of nature writers.
Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.
Despite the recent flood of scholarly work investigating the interrelated issues of race, gender, and representation, little has been written about black women’s depictions of their own bodies. Both past and present-day American cultural discourse has attempted either to hypereroticize the black female body or make it a site of impropriety and crime.
The essays in this volume focus on how African American women, from the nineteenth century to the present, have represented their physical selves in opposition to the distorted vision of others. Contributors attempt to “recover” the black female body in two ways: they explore how dominant historical images have mediated black female identity, and they analyze how black women have resisted often demeaning popular cultural perceptions in favor of more diverse, subtle presentations of self.
The pieces in this book—all of them published here for the first time—address a wide range of topics, from antebellum American poetry to nineteenth-century African American actors, and twentieth-century pulp fiction.
Recovering the Black Female Body recognizes the pressing need to highlight through scholarship the vibrant energy of African American women’s attempts to wrest control of the physical and symbolic construction of their bodies away from the distortions of others.
Contributors are Margaret Bass, Dorri Rabung Beam, Michael Bennett, Jacqueline E. Brady, Daphne A. Brooks, Vanessa D. Dickerson, Meredith Goldsmith, Yvette Louis, Ajuan Maria Mance, Noliwe Rooks, Mark Winokur, and Doris Witt. This book also contains a foreword by Carla L. Peterson and an afterword by Deborah E. McDowell.
How, why, and according to whose definitions and requirements does a culture self-consciously create memory and project its fate? In this remarkable book—the first in English to treat Russian history as theatre and cultural performance—Spencer Golub reveals the performative nature of Russian history in the twentieth century and the romantic imprisonment/self-imprisonment of the creative intelligentsia within this scenario.
Between 1890 and 1924, more than two million Jewish immigrants landed on America's shores. The story of their integration into American society, as they traversed the difficult path between assimilation and retention of a unique cultural identity, is recorded in many works by American Hebrew writers. Red, Black, and Jew illuminates a unique and often overlooked aspect of these literary achievements, charting the ways in which the Native American and African American creative cultures served as a model for works produced within the minority Jewish community.
Exploring the paradox of Hebrew literature in the United States, in which separateness, and engagement and acculturation, are equally strong impulses, Stephen Katz presents voluminous examples of a process that could ultimately be considered Americanization. Key components of this process, Katz argues, were poems and works of prose fiction written in a way that evoked Native American forms or African American folk songs and hymns. Such Hebrew writings presented America as a unified society that could assimilate all foreign cultures. At no other time in the history of Jews in diaspora have Hebrew writers considered the fate of other minorities to such a degree. Katz also explores the impact of the creation of the state of Israel on this process, a transformation that led to ambivalence in American Hebrew literature as writers were given a choice between two worlds.
Reexamining long-neglected writers across a wide spectrum, Red, Black, and Jew celebrates an important chapter in the history of Hebrew belles lettres.
An entertaining and enlightening proposal for a new way to read Native American literature.
An entertaining and enlightening proposal for a new way to read Native American literature.
How can a square peg fit into a round hole? It can’t. How can a door be unlocked with a pencil? It can’t. How can Native literature be read applying conventional postmodern literary criticism? It can’t.That is Craig Womack’s argument in Red on Red. Indian communities have their own intellectual and cultural traditions that are well equipped to analyze Native literary production. These traditions should be the eyes through which the texts are viewed. To analyze a Native text with the methods currently dominant in the academy, according to the author, is like studying the stars with a magnifying glass.In an unconventional and piercingly humorous appeal, Womack creates a dialogue between essays on Native literature and fictional letters from Creek characters who comment on the essays. Through this conceit, Womack demonstrates an alternative approach to American Indian literature, with the letters serving as a “Creek chorus” that offers answers to the questions raised in his more traditional essays. Topics range from a comparison of contemporary oral versions of Creek stories and the translations of those stories dating back to the early twentieth century, to a queer reading of Cherokee author Lynn Riggs’s play The Cherokee Night.Womack argues that the meaning of works by Native peoples inevitably changes through evaluation by the dominant culture. Red on Red is a call for self-determination on the part of Native writers and a demonstration of an important new approach to studying Native works-one that engages not only the literature, but also the community from which the work grew.ISBN 0-8166-3022-4 Cloth £33.50 $47.95xxISBN 0-8166-3023-2 Paper £13.00 $18.95x288 Pages 5 7/8 x 9 November Translation inquiries: University of Minnesota PressFrom rap music to preaching, from Toni Morrison to Leonard Jeffries, from Michael Jackson to Michael Jordan, Reflecting Black explores as never before the varied and complex dimensions of African-American culture through personal reflection, expository journalism, scholarly investigation and even homily.
"A landmark text in Afro-American cultural criticism. There is simply nothing like it that exists. The level of theoretical sophistication and political engagement is rare-and badly needed." -Cornel West"As Reflecting Black so richly demonstrates, Michael Eric Dyson combines cutting-edge theoretical acuity with the passionate, engaged, and accessible stance of a public intellectual. His critical purview encompasses scholarly tomes and mass market periodicals, trends in theology and in hip-hop culture alike. This book is a splendid introduction to a singularly important voice." -Henry Louis Gates, Jr."Dyson is a young black cultural, political and religious critic whose new book directs its nastiest commentary at racism, sexism, capitalism and straight-up immorality. His is a fresh voice seemingly unfazed by Blackademe's battle royal. Dyson's project is very much in the tradition of recent work by a number of young African-American cultural critics like Tricia Rose, Hilton Als, bell hooks, Greg Tate, Wahneema Lubiano, Elizabeth Alexander and Herman Gray, to name but a few. Reflecting Black is much more than a cultural critique in the formal sense. It interrogates the political, social and moral crises confronting American society generally and African-American communities in particular. In the end, Dyson is not one of those cultural studies scholars concerned with debating the fine points of discourse theory. He is an 'oppositional' critic with a much higher purpose than developing analytical tools to make sense of African-American culture. The Reverend Dyson is not only operating within a rich Marxist tradition but within a very old and continuing African-American tradition. Black communities, through newspaper columns, church groups, street corner gatherings, beauty parlor and barber shop discussions, have always debated and taken responsibility for their culture(s). Dyson's constant lecturing, chiding and encouraging embodies what Antonio Gramsci and his own mama expected us to do all along: not just interpret culture but actively change it--through struggle." -The Nation"Where Michael Jackson meets spirituality, where Martin Luther King meets Malcolm X, where the consolidating 'narrative of racial unity' meets the 'perplexing and chaotic politics of racial identity': These are the border zones of Michael Eric Dyson's compassionate, postmodern, eclectic critical project. Reflecting Black is an invigorating reader for our perplexing and chaotic times." -Voice Literary Supplement"He shows an admirable breadth, ranging from issues such as racism and political correctness in the seminary to examinations of such icons of popular culture as filmaker Spike Lee, singer Michael Jackson and athlete Michael Jordan. One entire section of the book is devoted to black religion, and includes an examination of the lives and examples of Martin Luther King, Jr. and Malcom X." -Washington Post Book World"Yet, if Dyson stumbles in his discussions of black popular culture, he soars in his section titled 'Beyond the Mantra: Reflections on Race, Gender, and Class.' In 'Remembering Emmett Till,' Dyson writes not just with his mind, but with his heart." -Boston Globe"Yet his insights are just as often incisive and challenging, and they demand serious consideration. By insisting that we acknowledge the complexities of race in America and by refusing to accept easy answers, Reflecting Black forces us to think harder about how we can create alterna"Modernity" was an inescapable fact of life for the first generation to come of age in the German Empire. Even the most extreme political opponents saw the chaotic transformation of all spheres of life in the wake of industrial capitalism as the central problem facing young men and women at the fin de siècle. This fresh look at Wilhelmine perceptions of modernity challenges both the traditional emphasis on anti-modernism as a peculiarly German response that led to the rise of National Socialism, and the more recent post-Foucauldian studies on the "pathologies of modernity," which point instead to an unreflective faith in science and efficiency on the part of German progressives. Shifting the focus away from radical extremes on either side, Kevin Repp explores the more moderate agendas of hundreds of mainstream intellectuals and activists from diverse social backgrounds who sought to surmount the human costs of industrialization without relinquishing its positive potential.
Repp combines detailed case studies of Adolf Damaschke, Gertrud Bäumer, and Werner Sombart with an innovative prosopography of their milieu to show how leading reformers enlisted familiar tropes of popular nationalism, eugenics, and cultural pessimism in formulating pragmatic solutions that would be at once modern and humane. Easily obscured by radical voices on right and left, this quiet search for alternatives nevertheless succeeded in building a nationwide network of educational centers, associative ties, and institutions that substantially altered the landscape of Wilhelmine political culture in the decades before the First World War.
“The strength of Empire,” wrote Ben Jonson, “is in religion.” In Reforming Empire, Christopher Hodgkins takes Jonson’s dictum as his point of departure, showing how for more than four centuries the Protestant imagination gave the British Empire its main paradigms for dominion and also, ironically, its chief languages of anti-imperial dissent. From Edmund Spenser’s Faerie Queene to Rudyard Kipling’s “The Man Who Would Be King,” English literature about empire has turned with strange constancy to themes of worship and idolatry, atrocity and deliverance, slavery and service, conversion, prophecy, apostasy, and doom.
Focusing on the work of the Protestant imagination from the Renaissance origins of English overseas colonization through the modern end of England’s colonial enterprise, Hodgkins organizes his study around three kinds of religious binding—unification, subjugation, and self-restraint. He shows how early modern Protestants like Hakluyt and Spenser reformed the Arthurian chronicles and claimed to inherit Rome’s empire from the Caesars: how Ralegh and later Cromwell imagined a counterconquest of Spanish America, and how Milton’s Satan came to resemble Cortés; how Drake and the fictional Crusoe established their status as worthy colonial masters by refusing to be worshiped as gods; and how seventeenth-century preachers, poets, and colonists moved haltingly toward a racist metaphysics—as Virginia began by celebrating the mixed marriage of Pocahontas but soon imposed the draconian separation of the Color Line.
Yet Hodgkins reveals that Tudor-Stuart times also saw the revival of Augustinian anti-expansionism and the genesis of Protestant imperial guilt. From the start, British Protestant colonialism contained its own opposite: a religion of self-restraint. Though this conscience often was co-opted or conscripted to legitimize conquests and pacify the conquered, it frequently found memorable and even fierce literary expression in writers such as Shakespeare, Daniel, Herbert, Swift, Johnson, Burke, Blake, Austen, Browning, Tennyson, Conrad, Forster, and finally the anti-Protestant Waugh. Written in a lively and accessible style, Reforming Empire will be of interest to all scholars and students of English literature.
Andrews also played a key role in the Harlem Renaissance, supporting writers and intellectuals with dedicated workspace at her 135th Street Branch Library. After hours she cohosted a legendary salon that drew the likes of Langston Hughes and Zora Neale Hurston. Her work as an actress and playwright helped establish the Harlem Experimental Theater, where she wrote plays about lynching, passing, and the Underground Railroad.
Ethelene Whitmire's new biography offers the first full-length study of Andrews's activism and pioneering work with the NYPL. Whitmire's portrait of her sustained efforts to break down barriers reveals Andrews's legacy and places her within the NYPL's larger history.
Relocating Authority examines the ways Japanese Americans have continually used writing to respond to the circumstances of their community’s mass imprisonment during World War II. Using both Nikkei cultural frameworks and community-specific history for methodological inspiration and guidance, Mira Shimabukuro shows how writing was used privately and publicly to individually survive and collectively resist the conditions of incarceration.
Examining a wide range of diverse texts and literacy practices such as diary entries, note-taking, manifestos, and multiple drafts of single documents, Relocating Authority draws upon community archives, visual histories, and Asian American history and theory to reveal the ways writing has served as a critical tool for incarcerees and their descendants. Incarcerees not only used writing to redress the “internment” in the moment but also created pieces of text that enabled and inspired further redress long after the camps had closed.
Relocating Authority highlights literacy’s enduring potential to participate in social change and assist an imprisoned people in relocating authority away from their captors and back to their community and themselves. It will be of great interest to students and scholars of ethnic and Asian American rhetorics, American studies, and anyone interested in the relationship between literacy and social justice.
Remembering Paradise studies three major eighteenth-century nativist scholars in Japan: Kada no Azumamaro, Kamo no Mabuchi, and the celebrated Motoori Norinaga. Peter Nosco demonstrates that these scholars, frequently depicted as the formulators of rabid xenophobia, were intellectuals engaged in a quest for meaning, wholeness, and solace in what they perceived to be disordered times. He traces the emergence and development of their philosophies, identifying elements of continuity into the eighteenth century from the singular Confucian-nativist discourse of the seventeenth century. He also describes the rupture between nativism and Confucianism at the start of the eighteenth century and the quest for ancient, distinctly Japanese values.
The emphasis on patriotism and nostalgia in the works of these three scholars may have relevance to the kind of nationalism emerging in Japan in the 1980s, manifested in a renewed interest in visiting one's home place and in the history and culture of the seventeenth through mid-nineteenth centuries. The current fusion of nationalism and nostalgia can perhaps be better understood through Nosco's analysis of comparable sentiments that were important in earlier times.
Contributors. Hugo Achugar, Alvarro Barros-Lémez, Lisa Block de Behar, Amanda Berenguer, Hiber Conteris, José Pedro Díaz, Eduardo Galeano, Edy Kaufman, Leo Masliah, Carina Perelli, Teresa Porzecanski, Juan Rial, Mauricio Rosencof, Jorge Ruffinelli, Saúl Sosonowski, Martin Weinstein, Ruben Yáñez
Reproductions of Banality was first published in 1986. 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.
An established fascist state has never existed in France, and after World War II there was a tendency to blame the Nazi Occupation for the presence of fascists within the country. Yet the memory of fascism within their ranks still haunts French intellectuals, and questions about a French version of fascist ideology have returned to the political forefront again and again in the years since the war. In Reproductions of Banality, Alice Yaegar Kaplan investigates the development of fascist ideology as it was manifested in the culture of prewar and Occupied France. Precisely because it existed only in a "gathering" or formative stage, and never achieved the power that brings with it a bureaucratic state apparatus, French fascism never lost its utopian, communal elements, or its consequent aesthetic appeal. Kaplan weighs this fascist aesthetic and its puzzling power of attraction by looking closely at its material remains: the narratives, slogans, newspapers, and film criticism produced by a group of writers who worked in Paris in the 1930s and early 1940s — their "most real moment."
These writers include Pierre Drieu la Rochelle, Louis-Ferdinand Celine, Lucien Rebatat, Robert Brasillach, and Maurice Bardeche, as well as two precursors of French fascism, Georges Sorel and the Italian futurist F.T. Marinetti, who made of the airplane an industrial carrier of sexual fantasies and a prime mover in the transit from futurism to fascism. Kaplan's work is grounded in the major Marxist and psychoanalytic theories of fascism and in concepts of banality and mechanical reproduction that draw upon Walter Benjamin. Emphasizing the role played by the new technologies of sight and sound, she is able to suggest the nature of the long-repressed cultural and political climate that produced French fascism, and to show—by implication — that the mass marketing of ideology in democratic states bears a family resemblance to the fascist mode of an earlier time.Honorable Mention, ALAA-Arvey Foundation Book Award, Association of Latin American Art
Finalist, 2024 Charles Rufus Morey Book Award, College Art Association
How Mexican artists and intellectuals created a new identity for modern Mexico City through its ties to Aztec Tenochtitlan.
After archaeologists rediscovered a corner of the Templo Mayor in 1914, artists, intellectuals, and government officials attempted to revive Tenochtitlan as an instrument for reassessing Mexican national identity in the wake of the Revolution of 1910. What followed was a conceptual excavation of the original Mexica capital in relation to the transforming urban landscape of modern Mexico City.
Revolutionary-era scholars took a renewed interest in sixteenth century maps as they recognized an intersection between Tenochtitlan and the foundation of a Spanish colonial settlement directly over it. Meanwhile, Mexico City developed with modern roads and expanded civic areas as agents of nationalism promoted concepts like indigenismo, the embrace of Indigenous cultural expressions. The promotion of artworks and new architectural projects such as Diego Rivera’s Anahuacalli Museum helped to make real the notion of a modern Tenochtitlan. Employing archival materials, newspaper reports, and art criticism from 1914 to 1964, Resurrecting Tenochtitlan connects art history with urban studies to reveal the construction of a complex physical and cultural layout for Mexico’s modern capital.
In this first comprehensive study of the effect of Lucretius's De rerum natura on Florentine thought in the Renaissance, Alison Brown demonstrates how Lucretius was used by Florentine thinkers—earlier and more widely than has been supposed—to provide a radical critique of prevailing orthodoxies.
To answer the question of why ordinary Florentines were drawn to this recently discovered text, despite its threat to orthodox Christian belief, Brown tracks interest in it through three humanists—the most famous of whom was Machiavelli—all working not as philologists but as practical administrators and teachers in the Florentine chancery and university. Interpreting their direct use of Lucretius within the context of mercantile Florence, Brown highlights three dangerous themes that had particular appeal: Lucretius's attack on superstitious religion and an afterlife; his pre-Darwinian theory of evolution; and his atomism, with its theory of free will and the chance creation of the world.
The humanists' challenge to established beliefs encouraged the growth of a "Lucretian network" of younger, politically disaffected Florentines. Brown thus adds a missing dimension to our understanding of the "revolution" in sixteenth-century political thinking, as she enriches our definition of the Renaissance in a context of newly discovered worlds and new social networks.
Revisiting Racialized Voice:African American Ethos in Language and Literature argues that past misconceptions about black identity and voice, codified from the 1870s through the 1920s, inform contemporary assumptions about African American authorship and ethos. Tracing elements of racial consciousness in the works of Frederick Douglass, Charles Chesnutt, W. E. B. DuBois, Zora Neale Hurston, and others, David G. Holmes urges a revisiting of narratives from this period to strengthen and advance notions about racialized writing and to shape contemporary composition pedagogies.
Pointing to the intersection of African American identity, literature, and rhetoric, Revisiting Racialized Voice begins to construct rhetorically workable yet ideologically flexible definitions of black voice. Holmes maintains that political pressure to embrace“color blindness” endangers scholars’ ability to uncover links between racialized discourses of the past and those of the present, and he calls instead for a reassessment of the material realities and theoretical assumptions race represents and with which it has been associated.
During China’s transition from dynastic empire to nation-state, the crowd emerged as a salient trope. Intellectuals across the ideological spectrum have used the crowd trope to ruminate on questions of selfhood and nationhood, and to advance competing models of enlightenment and revolution.
Revolutionary Waves analyzes the centrality of the crowd in the Chinese cultural and political imagination and its global resonances by delving into a wide range of fiction, philosophy, poetry, and psychological studies. Bringing together literary studies, intellectual history, critical theory, and the history of human sciences, this interdisciplinary work highlights unexplored interactions among emerging social-scientific forms of knowledge, new aesthetic modes of representation, and changing political imperatives. The work brings into relief the complexities of the modern Chinese crowd discourse, which generated subjectivities and oriented actions, enabled as well as constrained the expression of togetherness, and thus both expanded and limited the horizon of political possibilities in the emerging age of mass politics.
The first in-depth examination of the aesthetics and politics of the crowd in modern Chinese literature and thought, Revolutionary Waves raises questions about the promise and peril of community as communion and reimagines collective life in China’s post-socialist present.
Exodus, as a powerful narrative of liberation, has been a central imaginative touchstone in the black American struggle against US racism. This book traces the concept in a number of pivotal black thinkers, and explores its signficance for contemporary America.
The exodus story is a fitting allegory for the painful experience of exile that disproportionately afflicted African Americans in the aftermath of Hurricane Katrina, and it also provides compelling imagery for the triumphant election of Barack Obama in 2008. Building around these themes, Anna Hartnell traces the intellectual development of one of the defining narratives of black American thinking on social justice in the United States.
In placing black America at the centre of the study of US culture, Rewriting Exodus suggests new ways of thinking about America's relationship with the Middle East and the wider postcolonial world. Hartnell's groundbreaking contribution marks a vital new chapter in American cultural and political history.
What did it mean for people of color in nineteenth-century America to speak or write "white"? More specifically, how many and what kinds of meaning could such "white" writing carry? In ReWriting White, Todd Vogel looks at how America has racialized language and aesthetic achievement. To make his point, he showcases the surprisingly complex interactions between four nineteenth-century writers of color and the "standard white English" they adapted for their own moral, political, and social ends. The African American, Native American, and Chinese American writers Vogel discusses delivered their messages in a manner that simultaneously demonstrated their command of the dominant discourse of their times-using styles and addressing forums considered above their station-and fashioned a subversive meaning in the very act of that demonstration.
The close readings and meticulous archival research in ReWriting White upend our conventional expectations, enrich our understanding of the dynamics of hegemony and cultural struggle, and contribute to the efforts of other cutting-edge contemporary scholars to chip away at the walls of racial segregation that have for too long defined and defaced the landscape of American literary and cultural studies.
James Fredal’s wide-ranging survey examines the spatial and performative features of rhetorical artistry in ancient Athens from Solon to Demosthenes, demonstrating how persuasive skill depended not on written treatises, but on the reproduction of spaces and modes for masculine self-formation and displays of contests of character.
Studies of the history of rhetoric generally begin with Homer and Greek orality, then move on to fifth-century Sicily and the innovations of Corax, Tisias, and the older Sophists. While thorough and useful, these narratives privilege texts as the sole locus of proper rhetorical knowledge. Rhetorical Action in Ancient Greece:Persuasive Artistry from Solon to Demosthenes describes rhetoric as largely unwritten and rhetorical skill as closely associated with the ideologies and practices of gender formation and expression. In expanding the notion of rhetorical innovation to include mass movements, large social genres, and cultural practices—rather than the formulations of of individual thinkers and writers—Fredal offers a view of classical rhetoric as local and contingent, bound to the physical spaces, local histories, and cultural traditions of place.
Fredal argues that Greek rhetorical skill remained a function of local spaces like the Pnyx, social practices such as symposia or local meetings, cultural ideologies like those surrounding masculine friendship, and genres of performance such as how to act like a man, herald, sage, tyrant, or democrat. Citizen participation, he explains, was motivated by the desire to display masculine excellence in contests of character by overcoming fear and exerting symbolic and bodily control over self, situation, and audience. He shows how ancient Greek rhetoric employed patterns of “action” such as public oratory and performance to establish, reinforce, or challenge hierarchies and claims to political power.
Instead of examining speeches, handbooks, and theory, Rhetorical Action in Ancient Greece examines the origins of rhetoric in terms of performance. The result is a presentation of rhetorical knowledge as embodied in places and practices with spatial and practical logics that are rarely articulated in written discourse. The volume calls on archaeological, literary, and anthropological evidence about the rhetorical actions of Athens’s leading political agents—including Solon, Peisistratus, Cleisthenes, Demosthenes, and the anonymous “herm-choppers” of the Peloponnesian war—to demonstrate how each generation of political leaders adopted and transformed existing performance genres and spaces to address their own political exigency.
As the 2000 census resoundingly demonstrated, the Anglo-Protestant ethnic core of the United States has all but dissolved. In a country founded and settled by their ancestors, British Protestants now make up less than a fifth of the population. This demographic shift has spawned a “culture war” within white America. While liberals seek to diversify society toward a cosmopolitan endpoint, some conservatives strive to maintain an American ethno-national identity. Eric Kaufmann traces the roots of this culture war from the rise of WASP America after the Revolution to its fall in the 1960s, when social institutions finally began to reflect the nation’s ethnic composition.
Kaufmann begins his account shortly after independence, when white Protestants with an Anglo-Saxon myth of descent established themselves as the dominant American ethnic group. But from the late 1890s to the 1930s, liberal and cosmopolitan ideological currents within white Anglo-Saxon Protestant America mounted a powerful challenge to WASP hegemony. This struggle against ethnic dominance was mounted not by subaltern immigrant groups but by Anglo-Saxon reformers, notably Jane Addams and John Dewey. It gathered social force by the 1920s, struggling against WASP dominance and achieving institutional breakthrough in the late 1960s, when America truly began to integrate ethnic minorities into mainstream culture.
The Rise of Modern Yiddish Culture explores the transformation of Yiddish from a low-status vernacular to the medium of a complex modern culture. David Fishman examines the efforts of east European Jews to establish their linguistic distinctiveness as part of their struggle for national survival in the diaspora. Fishman considers the roots of modern Yiddish culture in social and political conditions in Imperial Tsarist and inter-war Poland, and its relationship to Zionism and Bundism. In so doing, Fishman argues that Yiddish culture enveloped all socioeconomic classes, not just the proletarian base, and considers the emergence, at the turn of the century, of a pro-Yiddish intelligentsia and a Yiddishist movement.
As Fishman points out, the rise of Yiddishism was not without controversy. Some believed that the rise of Yiddish represented a shift away from a religious-dominated culture to a completely secular, European one; a Jewish nation held together by language, rather than by land or religious content. Others hoped that Yiddish culture would inherit the moral and national values of the Jewish religious tradition, and that to achieve this result, the Bible and Midrash would need to exist in modern Yiddish translation. Modern Yiddish culture developed in the midst of these opposing concepts.
Fishman follows the rise of the culture to its apex, the founding of the Yiddish Scientific Institute (YIVO) in Vilna in 1925, and concludes with the dramatic story of the individual efforts that preserved the books and papers of YIVO during the destruction and annihilation of World War II and in postwar Soviet Lithuania. The Rise of Modern Yiddish Culture, like those efforts, preserves the cultural heritage of east European Jews with thorough research and fresh insights.
The little-known story of the sophisticated and vibrant Arabic book culture that flourished during the Middle Ages.
During the thirteenth century, Europe’s largest library owned fewer than 2,000 volumes. Libraries in the Arab world at the time had exponentially larger collections. Five libraries in Baghdad alone held between 200,000 and 1,000,000 books each, including multiple copies of standard works so that their many patrons could enjoy simultaneous access.
How did the Arabic codex become so popular during the Middle Ages, even as the well-established form languished in Europe? Beatrice Gruendler’s The Rise of the Arabic Book answers this question through in-depth stories of bookmakers and book collectors, stationers and librarians, scholars and poets of the ninth century.
The history of the book has been written with an outsize focus on Europe. The role books played in shaping the great literary cultures of the world beyond the West has been less known—until now. An internationally renowned expert in classical Arabic literature, Gruendler corrects this oversight and takes us into the rich literary milieu of early Arabic letters.
Cosmopolitan visions
Terry A. Cooney traces the evolution of the Partisan Review—often considered to be the most influential little magazine ever published in America—during its formative years, giving a lucid and dispassionate view of the magazine and its luminaries who played a leading role in shaping the public discourse of American intellectuals. Included are Lionel Trilling, Philip Rahv, William Phillips, Dwight Macdonald, F. W. Dupee, Mary McCarthy, Sidney Hook, Harold Rosenberg, and Delmore Schwartz, among others.
“An excellent book, which works at each level on which it operates. It succeeds as a straightforward narrative account of the Partisan Review in the 1930s and 1940s. The magazine’s leading voices—William Phillips, Philip Rahv, Dwight MacDonald, Lionel Trilling, and all the rest—receive their due. . . . Among the themes that engage Cooney. . . . are: how they dealt with ‘modernism’ in culture and radicalism in politics, each on its own and in combination; how Jewishness played a complex and fascinating role in many of the thinkers’ lives; and, especially, how ‘cosmopolitanism’ best explains what the Partisan Review was all about.”—Robert Booth Fowler, Journal of American History
In the United States miscegenation is not merely a subject of literature and popular culture. It is in many ways the foundation of contemporary imaginary community. The Romance of Race examines the role of minority women writers and reformers in the creation of our modern American multiculturalism.
The national identity of the United States was transformed between 1880 and 1930 due to mass immigration, imperial expansion, the rise of Jim Crow, and the beginning of the suffrage movement. A generation of women writers and reformers—particularly women of color—contributed to these debates by imagining new national narratives that put minorities at the center of American identity. Jane Addams, Pauline Hopkins, Onoto Watanna (Winnifred Eaton), María Cristina Mena, and Mourning Dove (Christine Quintasket) embraced the images of the United States—and increasingly the world—as an interracial nuclear family. They also reframed public debates through narratives depicting interracial encounters as longstanding, unacknowledged liaisons between white men and racialized women that produced an incestuous, mixed-race nation.
By mobilizing the sexual taboos of incest and miscegenation, these women writers created political allegories of kinship and community. Through their criticisms of the nation’s history of exploitation and colonization, they also imagined a more inclusive future. As Jolie A. Sheffer identifies the contemporary template for American multiculturalism in the works of turn-of-the century minority writers, she uncovers a much more radical history than has previously been considered.
In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen’s clubs that formed the exclusive preserve known as “clubland” in Victorian London—the City of Clubs that arose during the Golden Age of Clubs. Why were these associations for men only such a powerful emergent institution in nineteenth-century London? Distinctly British, how did these single-sex clubs help fashion men, foster a culture of manliness, and assist in the project of nation building? What can elite male affiliative culture tell us about nineteenth-century Britishness?
A Room of His Own sheds light on the mysterious ways of male associational culture as it examines such topics as fraternity, sophistication, nostalgia, social capital, celebrity, gossip, and male professionalism. The story of clubland (and the literature it generated) begins with Britain’s military heroes home from the Napoleonic campaign and quickly turns to Dickens’s and Thackeray’s acrimonious Garrick Club Affair. It takes us to Richard Burton’s curious Cannibal Club and Winston Churchill’s The Other Club; it goes underground to consider Uranian desire and Oscar Wilde’s clubbing and resurfaces to examine the problematics of belonging in Trollope’s novels. The trespass of French socialist Flora Tristan, who cross-dressed her way into the clubs of Pall Mall, provides a brief interlude. London’s clubland—this all-important room of his own—comes to life as Barbara Black explores the literary representations of clubland and the important social and cultural work that this urban site enacts. Our present-day culture of connectivity owes much to nineteenth-century sociability and Victorian networks; clubland reveals to us our own enduring desire to belong, to construct imagined communities, and to affiliate with like-minded comrades.
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