Drawing up alternate ways to “make a living” beyond capitalism
To live in this world is to be conditioned by capital. Once paired with Western democracy, unfettered capitalism has led to a shrinking economic system that squeezes out billions of people—creating a planet of surplus populations. Wageless Life is a manifesto for building a future beyond the toxic failures of late-stage capitalism. Daring to imagine new social relations, new modes of economic existence, and new collective worlds, the authors provide skills and tools for perceiving—and living in— a post-capitalist future.
Forerunners: Ideas First
Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead
The Wall and the Garden was first published in 1968. 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.
The election day sermon in colonial New England was an annual, formal address by a minister of the gospel to the newly assembled legislature of the colony. The tradition began in the Massachusetts Bay colony in 1634, and it continued, in Boston, for 250 years. In this volume, Professor Plumstead presents a collection of nine of the Massachusetts election sermons, chosen from among the surviving Massachusetts sermons which were printed between 1661 and 1775. They are not chosen as representative but, rather, as the best, judged on a basis of literary excellence and ideas and points of style relevant to later developments in American literature and history. There are changes in style and theme in the 105 years between the first and the last selection, and, in his brief introduction to each of the sermons, the editor discusses these changes and the sermon's relationship to the tradition as a whole.
In a general introduction, Professor Plumstead provides background information about the history and significance of the election sermons. As he makes clear, the election sermon tradition offers a vantage point for seeing both continuity and change in colonial intellectual history. The sermons in this collection will complement colonial studies by bringing the reader close to the spirit of the times.
The title of the volume, The Wall and the Garden, derives from the frequent use by colonial preachers of the metaphors of the garden and the wall to describe the colonies and their spiritual enemies.
A revealing cultural history of this American art form.
In her intriguing and heavily illustrated look at post office murals of the 1930s, Karal Ann Marling examines these unique government-sponsored works of art not only as paintings but as part of American cultural history. Depicting scenes from the farm, the frontier, and the factories, these murals were commissioned by the Treasury Department during the administration of Franklin D. Roosevelt. Placed in the building where everyone in town had reason to stop, the thousand-odd paintings discussed here were truly intended to hold appeal for everyone. This spirited and often irreverent discussion offers a close look at the murals and what they represented to small-town America during the Great Depression.
Wallace Stevens - American Writers 11 was first published in 1961. 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.
Walt Whitman - American Writers 9 was first published in 1961. 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.
A portrait of the trailblazing film producer whose career spanned five decades.
The long, colorful career of Walter Wanger (1894-1968) is one of Hollywood’s greatest untold stories. An intellectual and a socially conscious movie executive who produced provocative message movies and glittering romantic melodramas, Wanger’s career started at Paramount studios in the 1920s and led him to work at virtually every major studio as either a contract producer or an independent. He produced a series of American film classics, including Queen Christina, Stagecoach, Foreign Correspondent, and Invasion of the Body Snatchers, as well as a few notable flops, such as Cleopatra. This comprehensive biography brings to life a distinctive film personality and offers a new appreciation of the role of the producer in the history of American cinema.
In the three years, eight months, and twenty days of the Khmer Rouge’s deadly reign over Cambodia, an estimated 1.7 million Cambodians perished as a result of forced labor, execution, starvation, and disease. Despite the passage of more than thirty years, two regime shifts, and a contested U.N. intervention, only one former Khmer Rouge official has been successfully tried and sentenced for crimes against humanity in an international court of law to date. It is against this background of war, genocide, and denied justice that Cathy J. Schlund-Vials explores the work of 1.5-generation Cambodian American artists and writers.
Drawing on what James Young labels “memory work”—the collected articulation of large-scale human loss—War, Genocide, and Justice investigates the remembrance work of Cambodian American cultural producers through film, memoir, and music. Schlund-Vials includes interviews with artists such as Anida Yoeu Ali, praCh Ly, Sambath Hy, and Socheata Poeuv. Alongside the enduring legacy of the Killing Fields and post-9/11 deportations of Cambodian American youth, artists potently reimagine alternative sites for memorialization, reclamation, and justice. Traversing borders, these artists generate forms of genocidal remembrance that combat amnesic politics and revise citizenship practices in the United States and Cambodia.
Engaged in politicized acts of resistance, individually produced and communally consumed, Cambodian American memory work represents a significant and previously unexamined site of Asian American critique.
Washington Irving - American Writers 25 was first published in 1963. 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.
Washington Irving's Contributions to the Corrector was first published in 1968. 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.
This volume makes available, for the first time in collected form, a series of sketches by Washington Irving which were published anonymously in a political newspaper, The Corrector, in 1804. The Corrector, a short-lived political sheet, was published in New York City by Washington Irving's brother Peter Irving. While it has been assumed that Washington Irving contributed to the periodical, the present collection represents the first attempt to identify his contributions.
The collection contains forty-five pieces by Washington Irving. In addition, Professor Roth provides a literary and historical background in a lengthy introduction, as well as annotations for each selection, giving the documentary evidence on which the attribution of authorship is based.
Washington Irving's sketches for The Corrector were written as campaign literature for Aaron Burr in the New York gubernatorial election of 1804. As Professor Roth points out, they are filled with low and indecent abuse, and they contradict accepted notions of Irving's literary character. The view of Irving from the nineteenth century onward has been that of a gentle, genial, and dignified personality, and his excursions in low invective or slapstick have generally been dismissed as accidents or exceptions to his read nature. The editor places this body of Irving's work in the perspective of traditional invective and traces its relationship to other comic and satiric writing of the eighteenth century.
Wastelanding tells the history of the uranium industry on Navajo land in the U.S. Southwest, asking why certain landscapes and the peoples who inhabit them come to be targeted for disproportionate exposure to environmental harm. Uranium mines and mills on the Navajo Nation land have long supplied U.S. nuclear weapons and energy programs. By 1942, mines on the reservation were the main source of uranium for the top-secret Manhattan Project. Today, the Navajo Nation is home to more than a thousand abandoned uranium sites. Radiation-related diseases are endemic, claiming the health and lives of former miners and nonminers alike.
Traci Brynne Voyles argues that the presence of uranium mining on Diné (Navajo) land constitutes a clear case of environmental racism. Looking at discursive constructions of landscapes, she explores how environmental racism develops over time. For Voyles, the “wasteland,” where toxic materials are excavated, exploited, and dumped, is both a racial and a spatial signifier that renders an environment and the bodies that inhabit it pollutable. Because environmental inequality is inherent in the way industrialism operates, the wasteland is the “other” through which modern industrialism is established.
In examining the history of wastelanding in Navajo country, Voyles provides “an environmental justice history” of uranium mining, revealing how just as “civilization” has been defined on and through “savagery,” environmental privilege is produced by portraying other landscapes as marginal, worthless, and pollutable.
Poetry and prose by Spanish women presented here in both English and Spanish.
A dazzling sampler, Water Lilies brings to light a rich and until now largely invisible version of Spanish literary history. These hard-to-find works, most translated for the first time, are printed on facing pages in Spanish and English and located within a critical, biographical, and historical overview.
Here are five centuries of writing by Spanish women, the unknown recovered from obscurity, the well-known seen as they rarely have been-in the context of a women’s literary history. Some of these writers, like Rosalía de Castro in “The Bluestockings” and Teresa de Cartagena in Wonder at the Work of God, question the relationship between the woman writer and the act of writing. Some, like the poet Carolina Coronado in “The Twin Geniuses: Sappho and Saint Teresa of Jesus,” overtly seek a literary tradition. Others, like Saint Teresa in her Life and Luisa Sigea in her poetry, provide touchstones for women in search of such a tradition.Legends and stories of women’s friendships, the inconstancy of men, and the love of God; Spain’s first autobiographical text; secular and religious poetry from medieval through recent times; an excerpt from one of the few chivalresque novels written by a woman; a full-length Golden Age comedia: this is the wide range of works Water Lilies comprises. Brought together for the first time, the writers articulate their resistance to, and their complicity in, a literary history that, until now, has tried to exclude them.Waterfowl in Winter was first published in 1988. 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.
The emphasis in research on waterfowl has traditionally focused on breeding as opposed to migrant or wintering birds. Scientists have long been interested in courtship, nest sites, laying, and brood-rearing, and they have also been concerned about losses of eggs, young, nesting hens, and breeding habitats, especially as they have affected the goal of increasing populations. But lately there has been an upsurge of interest and research on the migratory and wintering phases, and this volume offers ample evidence of the knowledge gained.
The authors—105 waterfowl biologists—have contributed 47 chapters that range geographically from Alaska to northern South America, and from the Pacific Northwest to Nova Scotia and Florida. Their subjects include: distributional changes due to human influence; population trends and concerns over less common species; pairing and other behavior that occurs in the wintering areas and is vital to the success of the species; feeding ecology and body condition during winter; new habitats created by such activities as aquaculture and park development; losses of habitat due to development and drainage for alternate uses; lead poisoning and pollutants that are detrimental to waterfowl; habitat management for maintenance of successful populations now and in the future. Also presented are reports of workshop discussions outlining current issues and future research needs. Preparation of this volume was assisted by an editorial board comprising Bruce J. J. Batt, Robert H. Chabreck, Leigh H. Fredrickson, and Dennis G. Raveling.One of the first longitudinal studies of collective resistance in the developing world, Waves of Protest examines large-scale contentious action in El Salvador during critical eras in the country’s history.
Providing a compelling analysis of the massive waves of protests from the early twentieth century to the present in El Salvador, Paul D. Almeida fully chronicles one of the largest and most successful campaigns against globalization and privatization in the Americas. Drawing on original protest data from newspapers and other archival sources, Almeida makes an impassioned argument that regime liberalization organizes civil society and, conversely, acts of state-sponsored repression radicalize society. He correlates the ebb and flow of protest waves to the changes in regime liberalization and subsequent de-democratization and back to liberalization.
Almeida shows how institutional access and competitive elections create opportunity for civic organizations that become radicalized when authoritarianism increases, resulting at times in violent protest campaigns that escalate to revolutionary levels. In doing so, he brings negative political conditions and threats to the forefront as central forces driving social movement activity and popular contention in the developing world.
Paul D. Almeida is assistant professor of sociology at Texas A&M University. He is coeditor with Hank Johnston of Latin American Social Movements: Globalization, Democratization, and Transnational Networks.
Constructing a new approach for centering empire in productions of racialized, gendered, and sexualized difference
One of the oldest, most persistent issues in gender and sexuality studies is the dominance of white, northern theorizing and its consequences for what we know about sex, gender, and sexuality. There is an ongoing neglect of the significance of histories of empire and coloniality, particularly in U.S. sociology, where the United States and its theoretical productions are routinely sanitized of such histories. In Webbed Connectivities, Vrushali Patil offers a global historical sociology that reembeds the United States within histories of empire, situating the emergence of northern and U.S.-based concepts and frameworks squarely within these histories.
Webbed Connectivities intercepts the political economy of knowledge production within the social sciences to argue for the work of centering the role of imperial hierarchies in knowledge production and circulation. Patil develops a new approach—webbed connectivities—which tracks imperial processes and impacts across borders, shifting from an emphasis on particular experiences and identities to the constitution and creation of the categories themselves.
A sociologist of feminist thought and gender and sexuality studies, Patil explores the theoretical spaces that spotlighting imperial hierarchies within knowledge production might open, including making productive and essential connections across sites of the global south and north.
The Welfare State and Beyond was first published in 1984. 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.
The welfare state emerged in a number of industrialized countries after the First World War as a middle ground between capitalism and socialism. The aim of architects of the welfare state was to abolish the injustices and hardships that accompanied capitalism and to do so without wholesale social or economic revolution. Establishment of the welfare state created something close to euphoria among many observers; it was, it seemed, the answer to many, if not all, troubling social questions. But it eventually became obvious that this type of society was not immune to problems.
In The Welfare State and Beyond Gunnar Heckscher examines four Nordic countries—Denmark, Finland, Norway, and Sweden—not to either criticize or defend the welfare state but to shed some light on a number of questions: Has the welfare state achieved what it attempted? Are the results generally held to be satisfactory? What important problems remain unsolved and what types of solutions have been proposed? Although Heckscher has been associated with the Conservative party in Sweden, his objective, clear-eyed analysis cites both the accomplishments of the welfare state and the troubling problems that still await resolution.
Rachael Hanel’s name was inscribed on a gravestone when she was eleven years old. Yet this wasn’t at all unusual in her world: her father was a gravedigger in the small Minnesota town of Waseca, and death was her family’s business. Her parents were forty-two years old and in good health when they erected their gravestone—Rachael’s name was simply a branch on the sprawling family tree etched on the back of the stone. As she puts it: I grew up in cemeteries.
And you don’t grow up in cemeteries—surrounded by headstones and stories, questions, curiosity—without becoming an adept and sensitive observer of death and loss as experienced by the people in this small town. For Rachael Hanel, wandering among tombstones, reading the names, and wondering about the townsfolk and their lives, death was, in many ways, beautiful and mysterious. Death and mourning: these she understood. But when Rachael’s father—Digger O’Dell—passes away suddenly when she is fifteen, she and her family are abruptly and harshly transformed from bystanders to participants. And for the first time, Rachael realizes that death and grief are very different.
At times heartbreaking and at others gently humorous and uplifting, We’ll Be the Last Ones to Let You Down presents the unique, moving perspective of a gravedigger’s daughter and her lifelong relationship with death and grief. But it is also a masterful meditation on the living elements of our cemeteries: our neighbors, friends, and families—the very histories of our towns and cities—and how these things come together in the eyes of a young girl whose childhood is suffused with both death and the wonder of the living.
The Well-Tun'd Word was first published in 1982. 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.
The years 1957–1651 marked a period of high achievement in the history of song. In The Well-Tun'd Word Elise Bickford Jorgens studies changing musical conventions of English song in relation to new patterns in poetic taste from the late Elizabethan era through the Jacobean and Caroline years, basing her work on the premise that any musical setting of a poem is an interpretation of the poem itself. Thus by 1625, she contends, solo song in England had undergone a pronounced change in musical style, from the lute song of earlier decades to the monophonic continuo song. The appearance of John Donne and especially Ben Johnson and the Cavalier poets marked the demise of the Elizabethan lyrical mode that had inspired composers like John Downland, Thomas Campion, John Danyel, and Robert Jones.
Jorgen's opening chapters describe and illustrate elements of the craft of poetry and the musical conventions that can represent them. Her presentation is both clear and thorough, and will be especially helpful for students and scholars of English literature who are not necessarily musicians. She then discusses four major categories of song: Measured Music, Dance Songs and Tuneful Airs, English Monody, and Pathetic Airs, and notes that influence upon them of Continental music styles. But her major effort is to distinguish between them by pointing out their several characteristic attitudes towards the musical representation of poetic texts. All four groups show patterns of change during the first half of the seventeenth century.
Jorgens concludes that the celebrated union of the "sister arts" for which Elizabethan song was renowned was increasingly difficult to maintain after about 1610. Poets no longer favored those elements of poetic style that could in turn produce pleasing musical styles. Solo songs became, with continuo composers like Henry and William Lawes, Nicholas Lanier, and John Wilson, either notated recitations of poetry or simple pleasant trifles.
The Welsh in America was first published in 1961. 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.
The Welsh formed a small but significant part of the great migration from Europe to the United States during the nineteenth century. In this volume they tell their own story in letters they wrote from America to their families and friends back home. The letters are highly readable, written, for the most part, in vivid and entertaining style which reveals the Welsh as an unusually literate people.
The 197 letters are arranged chronologically and geographically, starting with letters that tell of the voyage across the Atlantic. Once in America, the immigrants described their experiences in the farming country of New York, Pennsylvania, Ohio, and some of the other midwestern states. Later, as the frontier moved west, they wrote of their efforts to establish exclusive Welsh settlements on the Great Plains. From the industrial centers there are letters from coal miners and iron and steel workers. The fortune seekers who went to California in the gold rush or to the mines in Colorado are also represented. Still others tell of their search for salvation in the Mormon Zion of Utah.
For each chapter or group of letters Mr. Conway has written an introduction giving the general background of the region or period and relating it to the Welsh settlers. Thus the events chronicled and the views expressed in the letters become significant in the history of the times. The majority of the letters were written in Welsh and they appear here in translation. Some were obtained from the files of old newspapers or denominational magazines; others came from the collections of the National Library of Wales or from individuals.
Western Stock Ranching was first published in 1950. 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.
Successful management of a stock ranch today requires a thorough, specialized knowledge of the land, the livestock, and the financial methods involved. This facts and figures study by an expert with long experience as a range economist deals with the working problems of sheep and cattle ranching and provides authoritative information on how to operate a ranch profitably.
The business of ranching is analyzed in terms of markets, prices and incomes, management standards and guides for production, financial planning and reports, production cost analysis, ranch appraisal, rangeland management, and procedures in the use of government lands. The various natural regions of the West are surveyed and the types of ranches found in each section are described.
In addition to considering in detail everyday ranch problems, the author realistically discusses the long-range problems confronting western stock ranchers as a group. Photographs, tables, sample accounting forms, and actual case illustrations add greatly to the usefulness of the book.
Owners and operators of stock ranches, persons planning to enter the business, professional agriculturalists specializing in credit, marketing, or management, and teachers of courses in ranch management and economy will find this an invaluable reference or text.
A dizzying tour of the ways technologies, both real and imagined, can transform humanity
The mind of the machine, the body suspended in time, organs exchanged, thought computed, genes manipulated, DNA samples abducted by aliens: the terrain between science and speculation, fraught with the possibility of technological and perhaps even evolutionary transformations, is the territory Richard Doyle explores in Wetwares. In a manner at once sober and playful, Doyle maps potentials for human transformation by new ecologies of information in the early twenty-first century.
Wetwares ranges over recent research in artificial life, cloning, cryonics, computer science, organ transplantation, and alien abduction. Moving between actual technical practices, serious speculative technology, and science fiction, Doyle shows us emerging scientific paradigms where “life” becomes more a matter of information than of inner vitality—in short, becomes “wetwares” for DNA and computer networks. Viewing technologies of immortality—from cryonics to artificial life—as disciplines for welcoming a thoroughly other future, a future of neither capital, god, human, nor organism, the book offers tools for an evolutionary, transhuman mutation in the utterly unpredictable decades to come.An entirely fresh approach to Moby Dick, by way of Ludwig Wittgenstein
The aim of this thoroughly unconventional work is to demonstrate that Herman Melville’s Moby Dick and Ludwig Wittgenstein’s Philosophical Investigations share the same projects and are, in effect, one and the same book. Confounding and improbable as such an enterprise might seem, Whale! not only successfully reveals the vital intersections between Melville and Wittgenstein but also, more important, makes a compelling argument for why such intersections are essential to understanding common political projects in literature and philosophy.
Written with grace, passion, and wit, Whale! manages to produce a startling and remarkably original reading of one of the most written-about and interpreted books in the American canon. K. L. Evans explores Melville’s vast work as a tale not of vengeance but of affection, and Ahab’s near-pathological agitation as indicative of his refusal to accept the world as unknowable. Between Ahab and the whale, Evans traces a longing for connection and meaning and finds a forceful response to the skeptical view that language is bankrupt and knowledge is uncertain. In Ahab’s hunt for Moby Dick, Whale! discovers a way to reconnect matter with meaning, object with knowledge.Examining the personal library and the making of self
When writer Edith Wharton died in 1937, without any children, her library of more than five thousand volumes was divided and subsequently sold. Decades later, it was reassembled and returned to The Mount, her historic Massachusetts estate. What a Library Means to a Woman examines personal libraries as technologies of self-creation in modern America, focusing on Wharton and her remarkable collection of books.
Sheila Liming explores the connection between libraries and self-making in late nineteenth- and early twentieth-century American culture, from the 1860s to the 1930s. She tells the story of Wharton’s library in concert with Wharton scholarship and treatises from this era concerning the wider fields of book history, material and print culture, and the histories (and pathologies) of collecting. Liming’s study blends literary and historical analysis while engaging with modern discussions about gender, inheritance, and hoarding. It offers a review of the many meanings of a library collection, while reading one specific collection in light of its owner’s literary celebrity.
What a Library Means to a Woman was born from Liming’s ongoing work digitizing the Wharton library collection. It ultimately argues for a multifaceted understanding of authorship by linking Wharton’s literary persona to her library, which was, as she saw it, the site of her self-making.
What Gender Is, What Gender Does provides a forceful new paradigm for considering genders. With depth and insight, Judith Roof argues that genders are much more than binary. And they are constantly morphing: they are conscious and unconscious, simultaneously conventional and idiosyncratic. At any moment, more than one gender dynamic is at work in any individual.
Roof’s interpretation of genders isn’t content with either biological duality or endlessly open performativity, and what results is a nuanced and surprising representation of gender—an account that captures the complexities of lived experience as well as lived ideology. For Roof, genders are interacting sets of operations that link individual desires to multiple, shifting manifestations of sociocultural positioning and self-presentation. Thus, “to gender” is to signal, mask, suggest, mislead, and simplify the uncontainable chaos of desires characteristic of subjects but roundly contained by society.
Drawing illustrative material from contemporary popular culture productions, including My Big Fat Greek Wedding, Spider-Man, Shrek, Shallow Hal, Sex and the City, Bridesmaids, Bond films, and “bromance” movies, What Gender Is, What Gender Does demonstrates how the persistent conflation of gender and sexual difference is, on the one hand, a simple taxonomic urge and, on the other, a cover that offers the security of identity in place of the frustrations and fears of the real asymmetries of personal power dynamics.
An imagination of possibilities, of miscalculations, of futures off-kilter
“Probability is a chimera, its head is true, its tail a suggestion. Futurologists attempt to compel the head to eat the tail (ouroboros). Here, though, we will try to wag the tail.” —Vilém Flusser
Two years after his Vampyroteuthis Infernalis, the philosopher Vilém Flusser engaged in another thought experiment: a collection of twenty-two “scenarios for the future” to be produced as computer-generated media, or technical images, that would break the imaginative logjam in conceiving the social, political, and economic future of the universe. What If? is not just an “impossible journey” to which Flusser invites us in the first scenario; it functions also as a distorting mirror held up to humanity.
Flusser’s disarming scenarios of an Anthropocene fraught with nightmares offer new visions that range from the scientific to the fantastic to the playful and whimsical. Each essay reflects our present sense of understanding the world, considering the exploitation of nature and the dangers of global warming, overpopulation, and blind reliance on the promises of scientific knowledge and invention. What If? offers insight into the radical futures of a slipstream Anthropocene that have much to do with speculative fiction, with Flusser’s concept of design as “crafty” or slippery, and with art and the immense creative potential of failure versus reasonable, “good” computing or calculability. As such, the book is both a warning and a nudge to imagine what we may yet become and be.
The president of Uganda addresses key questions about Africa’s future.
Recent seismic shifts in Congo and Rwanda have exposed the continued volatility of the state of affairs in central Africa. As African states have shaken off their postcolonial despots, new leaders with sweeping ideas about a pan-African alliance have emerged-and yet the internecine struggles go on. What is Africa’s problem? As one of the leaders expressing a broad and forceful vision for Africa’s future, Uganda’s Yoweri K. Museveni is perhaps better placed than anyone in the world to address the very question his book poses.
In 1986, after more than a decade of armed struggle, a rebellion led by Museveni toppled the dictatorship of Idi Amin, and Museveni, at 42, became president of Uganda, a country at that time in near total disarray. Since then, Uganda has made remarkable strides in political, civic, and economic arenas, and Museveni has assumed the role of "the éminence grise of the new leadership in central Africa" (Philip Gourevitch, New Yorker). As such, he has proven a powerful force for change, not just in Uganda but across the turbulent span of African states.This collection of Museveni’s writings and speeches lays out the possibilities for social change in Africa. Working with a broad historical understanding and an intimate knowledge of the problems at hand, Museveni describes how movements can be formed to foster democracy, how class consciousness can transcend tribal differences in the development of democratic institutions, and how the politics of identity operate in postcolonial Africa. Museveni’s own contributions to the overthrow of Zaire’s Mobutu Sese Seko and to the political transformation of Uganda suggest the kind of change that may sweep Africa in decades to come. What Is Africa’s Problem? gives a firsthand look at what those changes might be, how they might come about, and what they might mean.Reexamines rebelliousness and desire in the history of performance art
Because performance is by its very nature ephemeral, it elicits a desire for what is lost more than any other form of art making. But what is the nature of that desire, and on what models has it been structured? How has it affected the ways in which the history of performance art gets told?
In What the Body Cost, Jane Blocker revisits key works in performance art by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and others to challenge earlier critiques that characterize performance, or body art, as a purely revolutionary art form and fail to recognize its reactionary—and sometimes damaging—effects. The scholarship to date on performance art has not, she finds, gone far enough in locating the body at the center of the performance, nor has it acknowledged the psychic, emotional, or social costs exacted on that body. Drawing on the work of critical theorists such as Roland Barthes and Catherine Belsey, as well as queer theory and feminism, What the Body Cost reads against patriarchal and heteronormative tendencies in art history while providing a corrective to the established view that performance art is necessarily transgressive. Instead, Blocker suggests that the historiography of performance art is a postmodern lovers’s discourse in which practitioners, historians, and critics alike fervently seek the body while doubting it can ever be found.Exploring how DH shapes and is in turn shaped by the classroom
How has the field of digital humanities (DH) changed as it has moved from the corners of academic research into the classroom? And how has our DH praxis evolved through interactions with our students? This timely volume explores how DH is taught and what that reveals about the field of DH. While institutions are formally integrating DH into the curriculum and granting degrees, many instructors are still almost as new to DH as their students. As colleagues continue to ask what digital humanities is, we have the opportunity to answer them in terms of how we teach DH.
The contributors to What We Teach When We Teach DH represent a wide range of disciplines, including literary and cultural studies, history, art history, philosophy, and library science. Their essays are organized around four critical topics at the heart of DH pedagogy: teachers, students, classrooms, and collaborations. This book highlights how DH can transform learning across a vast array of curricular structures, institutions, and education levels, from high schools and small liberal arts colleges to research-intensive institutions and postgraduate professional development programs.
Contributors: Kathi Inman Berens, Portland State U; Jing Chen, Nanjing U; Lauren Coats, Louisiana State U; Scott Cohen, Stonehill College; Laquana Cooke, West Chester U; Rebecca Frost Davis, St. Edward’s U; Catherine DeRose; Quinn Dombrowski, Stanford U; Andrew Famiglietti, West Chester U; Jonathan D. Fitzgerald, Regis College; Emily Gilliland Grover, Notre Dame de Sion High School; Gabriel Hankins, Clemson U; Katherine D. Harris, San José State U; Jacob Heil, Davidson College; Elizabeth Hopwood, Loyola U Chicago; Hannah L. Jacobs, Duke U; Alix Keener, Stanford U; Alison Langmead, U of Pittsburgh; Sheila Liming, Champlain College; Emily McGinn, Princeton U; Nirmala Menon, Indian Institute of Technology; James O’Sullivan, U College Cork; Harvey Quamen, U of Alberta; Lisa Marie Rhody, CUNY Graduate Center; Kyle Roberts, Congregational Library and Archives; W. Russell Robinson, Alabama State U; Chelcie Juliet Rowell, Tufts U; Dibyadyuti Roy, U of Leeds; Asiel Sepúlveda, Simmons U; Andie Silva, York College, CUNY; Victoria Szabo, Duke U; Lik Hang Tsui, City U of Hong Kong; Annette Vee, U of Pittsburgh; Brandon Walsh, U of Virginia; Kalle Westerling, The British Library; Kathryn Wymer, North Carolina Central U; Claudia E. Zapata, UCLA; Benjun Zhu, Peking U.
Retail e-book files for this title are screen-reader friendly.
Whom does society consider an intellectual and on what grounds? Antonio Gramsci’s democratic vision of intelligence famously suggested that “all men are intellectuals,” yet within academic circles and among the general public, intellectuals continue to be defined by narrow, elite criteria.
In this study of four celebrated citizens of the African diaspora—American boxer Muhammad Ali, West Indian Marxist critic C. L. R. James, British cultural theorist Stuart Hall, and Jamaican musician Bob Marley—Grant Farred develops a new category of engaged thinker: the vernacular intellectual. Extending Gramsci’s concept of the organic intellectual, Farred conceives of vernacular intellectuals as individuals who challenge social injustice from inside and outside traditional academic or political spheres. Muhammad Ali, for example, is celebrated as much for his dazzling verbal skills and courageous political stands as for his pugilistic talents; Bob Marley’s messages of liberation are as central to his popularity as his lyrical and melodic sophistication. Neither man is described as an intellectual, yet both perform crucial intellectual functions: shaping how people see the world, oppose hegemony, and understand their own history. In contrast, the careers of C. L. R. James and Stuart Hall reflect a dynamic blend of the traditional and the vernacular. Conventionally trained and situated, James and Hall examine racism, history, and the lasting impact of colonialism in ways that draw on both established scholarship and more popular cultural experiences.
Challenging existing paradigms, What’s My Name offers an expansive and inclusive vision of intellectual activity that is as valid and meaningful in the boxing ring, the press conference, and the concert hall as in academia.
A provocative investigation into the social and cultural implications of the Internet by a leading cultural critic.
As the Internet has become more and more a part of our daily lives, responses to its impact on culture and society have tended toward the extremes, hopeful or pessimistic. Fears that the Internet undermines community, inhibits social interaction, exacerbates economic and racial divisions, and facilitates greater state or corporate intrusion into our lives are balanced by excitement about the transformative qualities of the new medium and its potential to stimulate individual creativity, inspire new social forms, and further democratization.
In What’s the Matter with the Internet?, leading cultural theorist Mark Poster offers a sophisticated and astute assessment of the potential the new medium has to redefine culture and politics. Avoiding the mindless hype and meaningless jargon that has characterized much of the debate about the future of the Web, he details what truly distinguishes the Internet from other media and the implications these novel properties have for such vital issues as authorship, national identity and global citizenship, the fate of ethnicity and race, and democracy. Arguing that the Internet demands a social and cultural theory appropriate to the specific qualities of cyberspace, Poster reformulates the ideas of thinkers associated with our understanding of postmodern culture and the media (including Foucault, Deleuze, Heidegger, Baudrillard, and Derrida) to account for and illuminate the virtual world, paying particular attention to its political dimensions and the nature of identity. In this innovative analysis, Poster acknowledges that although the colonization of the Internet by corporations and governments does threaten to retard its capacity to bring about genuine change, the new medium is still capable of transforming both contemporary social practices and the way we see the world and ourselves.When Pain Strikes was first published in 1998. 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.
When pain strikes, do you raid the medicine cabinet? Read a self-help manual? Hit the roof? How we in North America respond to pain-what we think about it, what we say, and what we do-is the subject of this collection of writings and images.
The book's five sections contain a myriad of complex reactions to the occurrence of pain: "Measure It" discusses biomedical responses; "Scream and Yell" explores therapeutic solutions; "Cut It Open" takes up surgical interventions; "Take a Pill" looks at pharmacology; and "Intensify It" examines positions that embrace pain. Each section comprises original artwork, scholarly analyses, poetic and literary texts, and discussions by activists. Hailing from the university, the gallery, and the community organization, the authors—as TV watchers, recreational drug users, recipients of medical attention, caregivers, midwives, or the HIV positive—inhabit and reconfigure our contemporary painscape, offering a new approach to the puzzle of pain.
Contributors: Charles R. Acland; Barbara McGill Balfour; Isabelle Brabant; Stephen Busby; Millie Chen; Michael Fernandes; Bob Flanagan; Thyrza Nichols Goodeve; Marie-Paule Macdonald; Ronald Melzack; Margaret Morse; Celeste Olalquiaga; John O'Neill; Gerard Päs; Elsie Petch; D. L. Pughe; Julia Scher; Cathy Sisler; Johanne Sloan; Jana Sterbak; Fred Tomaselli; Patrick D. Wall; Theodore Wan; Gregory Whitehead; Fred Wilson.
When Pain Strikes is published in collaboration with the Banff Centre for the Arts.
Fracking is one of the most controversial methods of fossil fuel extraction in the United States, but a great deal about it remains out of the public eye. In Wisconsin it has ignited an unprecedented explosion in the state’s sand mining operations, an essential ingredient in hydraulic fracturing that has shaken local communities to the core.
In When the Hills Are Gone, Thomas W. Pearson reveals the jolting impact of sand mining on Wisconsin’s environment and politics. A source of extraordinary wealth for a lucky few, and the cause of despoiled land for many others, sand mining has raised alarm over air quality, water purity, noise, blasting, depressed tourism, and damage to the local way of life. It has also spurred a backlash in a grassroots effort that has grown into a mature political movement battling a powerful mining industry.
When the Hills Are Gone tells the story of Wisconsin’s sand mining wars. Providing on-the-ground accounts from both the mining industry and the concerned citizens who fought back, Pearson blends social theory, ethnography, stirring journalism, and his own passionate point of view to offer an essential chapter of Wisconsin’s history and an important episode in the national environmental movement. Digging deep into the struggles over place, community, and local democracy that are occurring across the United States, When the Hills Are Gone gives vital insight into America’s environmental battles along the unexpected frontlines of energy development.
An inquiry into the phenomenology of “woman” based in the relationship between lived time and sexual violence
By focusing on time instead of space, When Time Warps places sexualized racism at the center of the way “woman” is lived. Burke transports questions of time and gender outside the realm of the historical, making provocative new insights into how gendered individuals live time, and how their temporal existence is changed through particular experiences.
Providing a potent reexamination of the theory of Simone de Beauvoir—while also bringing to the fore important women of color theorists and engaging in the temporal aspects of #MeToo—When Time Warps makes a necessary, lasting contribution to our understanding of gender, race, and sexual violence.
The long and pernicious relationship between fast food restaurants and the African American community
Today, fast food is disproportionately located in Black neighborhoods and marketed to Black Americans through targeted advertising. But throughout much of the twentieth century, fast food was developed specifically for White urban and suburban customers, purposefully avoiding Black spaces. In White Burgers, Black Cash, Naa Oyo A. Kwate traces the evolution in fast food from the early 1900s to the present, from its long history of racist exclusion to its current damaging embrace of urban Black communities.
Fast food has historically been tied to the country’s self-image as the land of opportunity and is marketed as one of life’s simple pleasures, but a more insidious history lies at the industry’s core. White Burgers, Black Cash investigates the complex trajectory of restaurant locations from a decided commitment to Whiteness to the disproportionate densities that characterize Black communities today. Kwate expansively charts fast food’s racial and spatial transformation and centers the cities of Chicago, New York City, and Washington, D.C., in a national examination of the biggest brands of today, including White Castle, KFC, Burger King, McDonald’s, and more.
Deeply researched, grippingly told, and brimming with surprising details, White Burgers, Black Cash reveals the inequalities embedded in the closest thing Americans have to a national meal.
Little has been written about the Spanish film musical, a genre usually associated with the early Franco dictatorship and dismissed by critics as reactionary, escapist fare. A timely and valuable corrective, White Gypsies shows how the Spanish folkloric musical films of the 1940s and ’50s are inextricably tied to anxious concerns about race—especially, but not only, Gypsiness.
Focusing on the processes of identity formation in twentieth-century Spain—with multifaceted readings of the cinematic construction of class, gender, and sexuality—Eva Woods Peiró explores how these popular films allowed audiences to negotiate and imaginatively, at times problematically, resolve complex social contradictions. The intricate interweaving of race and modernity is particularly evident in her scrutiny of a striking popular phenomenon: how the musicals progressively whitened their stars, even as their story lines became increasingly Andalusianized and Gypsified.
White Gypsies reveals how these imaginary individuals constituted a veritable cultural barometer of how racial thinking was projected and understood across a broad swath of popular Spanish cinema.
“From the first logging operation to the closing of the last mill this book is so thorough, so comprehensive, so well organized, and so useful that it must take its place with the outstanding monographs of economic and western history.” —Journal of Economic History
The old-growth forests of Minnesota, at one time covering 70 percent of the state, played a major role in the development of the Upper Mississippi Valley. Telling the complete history of the white pine industry, Agnes Larson brings us back to a time when Minnesota’s lumber business was thriving. Larson recounts the development of the region with a wealth of information, including the building of the railroads and bustling mill towns; the daily lives of lumberjacks, loggers, river-drivers, and jam-breakers; and the final devastation of the forests.
“An excellent contribution to the regional history and historical geography of the Upper Great Lakes area and the upper Mississippi Valley.” —Geographical Review
Agnes M. Larson (1892–1967) was professor of history at St. Olaf College.
Bradley J. Gills is adjunct professor of history at Grand Valley State University.
American Sociological Association’s Jessie Bernard Book Award winner
Gustavus Myers Center for the Study of Human Rights’s Outstanding Book Award winner
Whoop-up Country was first published in 1955. 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.
In the frontier days before the railroads penetrated the western plains, the Whoop-Up Trail was a high road of adventure and commerce. It led Indians, traders, and cattlemen into a great interior market stretching northward from the Missouri River in Montana to the Bow River valley in the Canadian province of Alberta. From Fort Benton on the Great Muddy to Fort Macleod on the Oldman, the trail with the rowdy name wrote its history in whisky, guns, furs, and pioneer enterprise.
But, as the Whoop-Up Trail faded away with the passing of the western frontier, people forgot about its existence and its part in the building of the West. Historians have largely overlooked this colorful chapter in the story of westward migration.
Now Paul Sharp tells about the Whoop-Up country in vivid detail. By first describing the region geographically, he demonstrates an important point—that there was no natural boundary in this area between Canada and the United States. He then relates the economic, social, and political events that ultimately divided the territory between the two nations in fact as well as in name.
The volume contains an excellent account of the beginnings of the Northwest Mounted Police. It provides a fresh viewpoint on the Indian problem by considering it impartially and as a whole, without the restricting and artificial limitations of national boundaries. Told by a perceptive and forceful writer, this is the story of the creation of two societies—Canadian and American—formed under similar circumstances yet developing very different political and cultural identities.
The Why of Music was first published in 1969. 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.
In his many tears of teaching and writing about music Professor Ferguson has given much thought to the question of the why of music — why does music affect us as it does, why are we deeply moved by some music by not by other music, what is it about music that "sends" us, and where does it send us? In this book he explores such questions in depth and provides intriguing answers. The discussions are presented in the form of dialogues between the author and several friends.
As Professor Ferguson explains, the book is intended to take the reader on a guided tour, a tour which follows, in part, the familiar roads of formal music appreciation but which leads more often into byways where, almost hidden by the brilliant Hows that line the more familiar roads, lurks the essential Why of music. He describes this Why as the fertilizing commerce between music and human experience—a portrayal, not of the tangible facts of experience, but of the concern aroused by our encounter with those facts. He explains that while avant-garde abstractionism is concerned only with music as art—a concern too specialized for the general music lover to grasp and too narrow to sustain interest—the Why of enduring music lies in its endeavor to portray experience as it lives in Everyman's mind.
Reexamining feminist sexual politics since the 1970s—the rivalries and the remarkable alliances
Since the historic #MeToo movement materialized in 2017, innumerable survivors of sexual assault and misconduct have broken their silence and called out their abusers publicly—from well-known celebrities to politicians and high-profile business leaders. Not surprisingly, conservatives quickly opposed this new movement, but the fact that “sex positive” progressives joined in the opposition was unexpected and seldom discussed. Why We Lost the Sex Wars explores how a narrow set of political prospects for resisting the use of sex as a tool of domination came to be embraced across this broad swath of the political spectrum in the contemporary United States.
To better understand today’s multilayered sexual politics, Lorna N. Bracewell offers a revisionist history of the “sex wars” of the 1970s, ’80s, and ’90s. Rather than focusing on what divided antipornography and sex-radical feminists, Bracewell highlights significant points of contact and overlap between these rivals, particularly the trenchant challenges they offered to the narrow and ambivalent sexual politics of postwar liberalism. Bracewell leverages this recovered history to illuminate in fresh and provocative ways a range of current phenomena, including recent controversies over trigger warnings, the unimaginative politics of “sex-positive” feminism, and the rise of carceral feminism. By foregrounding the role played by liberal concepts such as expressive freedom and the public/private divide as well as the long-neglected contributions of Black and “Third World” feminists, Bracewell upends much of what we think we know about the sex wars and makes a strong case for the continued relevance of these debates today.
Why We Lost the Sex Wars provides a history of feminist thinking on topics such as pornography, commercial sex work, LGBTQ+ identities, and BDSM, as well as discussions of such notable figures as Patrick Califia, Alan Dershowitz, Andrea Dworkin, Elena Kagan, Audre Lorde, Catharine MacKinnon, Cherríe Moraga, Robin Morgan, Gayle Rubin, Nadine Strossen, Cass Sunstein, and Alice Walker.
Exploring how the figure of the “wild child” in contemporary fiction grapples with contemporary cultural anxieties about reproductive ethics and the future of humanity
In the eighteenth century, Western philosophy positioned the figure of “the child” at the border between untamed nature and rational adulthood. Contemporary cultural anxieties about the ethics and politics of reproductive choice and the crisis of parental responsibility have freighted this liminal figure with new meaning in twenty-first-century narratives.
In Wild Child, Naomi Morgenstern explores depictions of children and their adult caregivers in extreme situations—ranging from the violence of slavery and sexual captivity to accidental death, mass murder, torture, and global apocalypse—in such works as Toni Morrison’s A Mercy, Cormac McCarthy’s The Road, Lionel Shriver’s We Need to Talk about Kevin, Emma Donoghue’s Room, and Denis Villeneuve’s film Prisoners. Morgenstern shows how, in such narratives, “wild” children function as symptoms of new ethical crises and existential fears raised by transformations in the technology and politics of reproduction and by increased ethical questions about the very decision to reproduce. In the face of an uncertain future that no longer confirms the confidence of patriarchal humanism, such narratives displace or project present-day apprehensions about maternal sacrifice and paternal protection onto the wildness of children in a series of hyperbolically violent scenes.
Urgent and engaging, Wild Child offers the only extended consideration of how twenty-first-century fiction has begun to imagine the decision to reproduce and the ethical challenges of posthumanist parenting.
A new view of what’s “wild,” and a new path for environmentalism.
At the very heart of American respect for nature, historically and philosophically, is the notion of the wild. This notion comes under scrutiny in Wild Ideas, a collection of essays that bring a fresh and refreshing perspective to the wilderness paradoxically at the center of our civilization.
Blending well-known and new voices, the volume surveys classical and romantic concepts of wilderness, from the scary to the sublime, and shows why neither serves us anymore. Instead, the authors argue for a “wild culture,” in which nature is not opposed to humanity, a mere matter of resources and consumers. A cogent reassessment of the ideas that drive the conservation movement, Wild Ideas points out a new direction for future environmentalism.Among the topics discussed are the confluence of wilderness, empire, and race in the United States; the way the ecology movement uses language; gendered views of the wilderness; maps and topology, and how they affect our view of the wild; healing by the wilderness experience; and the idea of an urban wilderness. Contributors: David Abram; Douglas Buege, U of Wisconsin; Denis Cosgrove, U of London; Robert Greenway, Sonoma State U; Ed Grumbine, Sierra Institute; Marvin Henberg, Linfield College; Irene Klaver, Montana State U; Andrew Light, U of Alberta; Lois Lorentzen, U of San Francisco; Max Oelschlaeger, U of North Texas; R. Murray Schafer; Tom Wolf.An entertaining portrait of the creatures that share our place in the woods.
John Henricksson’s neighbors stop by to chat or to have a bite to eat or just to sit and watch. But in his Wild Neighborhood the visitors are the black bear, gray jay, timber wolf, owl, white-tailed deer, raven, and the moose.
A Wild Neighborhood is a collection of elegantly written essays about these creatures. From kitchen-table gossip about the black bear’s recent attempts to raid the bird feeder, to the retelling of Native American myths about the mischievous raven, Henricksson shows a love and understanding of the residents with whom he shares the narrow wedge of the Superior National Forest in northeastern Minnesota.Henricksson writes of the personal relationships that develop while living in the woods. He tells of the joy of helping a deer survive a tough winter and the mystery of animals he calls “ghosts”—species that are extinct or near extinct but still have a fleeting presence in the area. Award-winning artist Betsy Bowen, author of Antler, Bear, Canoe: A Northwoods Alphabet Year, beautifully depicts the denizens of the forest. Her twenty-four woodcuts reflect, often humorously, Henricksson’s respect for and love of northwoods creatures.This personal account of a vibrant community in the woods will appeal to readers of all ages and make a beautiful gift for everyone who has admired the creatures of his or her own wild neighborhood.A real-life adventure and journey of discovery on the greatest of the Great Lakes
Over two years, Greg Breining set out to circle Lake Superior by kayak. Paddling more than one thousand miles, he camped on the lake’s islands and shorelines, visited its places of rare beauty and solitude, experienced its wildly varied moods, and explored remote historic sites and isolated communities. The result is Wild Shore, a tale of outdoor adventure, colorful characters, memorable stories, and personal discovery.
An indispensable resource for navigating the wild.
In the days before cell phones and global positioning systems, knowing how to find your own way in the wilderness was a vitally important skill. The Wilderness Route Finder, first published in 1967, was the popular resource for anyone venturing into the woods who wanted to find their way out again. Now this essential book is available once more in a handy paperback edition.
As more and more people seek to simplify their wilderness experiences and return to traditional camping methods, Rutstrum’s simple, straightforward, and dependable methods can be appreciated anew. Rutstrum focuses on the tried-and-true techniques that have served wilderness travelers for generations: how to use a map, a compass, a sextant, and the sun and stars. He explains why we sometimes get lost and what we should do when we are. This is a valuable traveling companion for anyone wishing to hunt, fish, explore, camp, or simply walk through unfamiliar territory.The critically acclaimed biography of this venerable naturalist and writer.
The first biography of this venerable naturalist and writer.
Sigurd Olson (1899-1982) was acknowledged during his lifetime as a leader of the American environmental movement, an emblematic figure for an entire generation of activists. A Wilderness Within is the first biography of this writer, teacher, and activist who was a harbinger of the opening of America’s ecological consciousness.From opposing the building of roads in the wilderness to preserving America’s most treasured wild rivers, Olson was involved in fierce battles over the environment throughout his life. He testified before Congress, spoke at town meetings, and was once even hanged in effigy.But Olson is best known for his many essays that express the wonder, awe, and peace he found in the wilderness. The lyricism and evocative beauty of his prose became a model for nature writers like Barry Lopez and Annie Dillard. Olson’s popular books, including The Singing Wilderness, Listening Point, and Reflections from the North Country, are beloved by generations of readers, with over 300,000 copies sold. A Wilderness Within looks beyond the environmental battles and books to expose the inner forces that drove Sigurd Olson. He rejected his father’s path as a minister and agonized over his own spiritual life, struggled with school and work. Backes details Olson’s painful path to becoming a writer, and the physical and emotional tolls that his activism and writing took of him. For this biography, Backes conducted interviews with Olson’s family and had complete access to Olson’s papers, diaries, correspondence, and photographs. This research is what makes A Wilderness Within the authoritative portrait of one of the greatest environmentalists of the twentieth century.A stunning look at a man with a vision for the natural world and a vision for himself, A Wilderness Within will be essential reading for Olson fans, historians, and outdoors people around the country.David Backes is the author of Canoe Country: An Embattled Wilderness (1991) and The Wilderness Companion (1992).424 pages Translation Rights: University of Minnesota PressElephants rarely breed in captivity and are not considered domesticated, yet they interact with people regularly and adapt to various environments. Too social and sagacious to be objects, too strange to be human, too captive to truly be wild, but too wild to be domesticated—where do elephants fall in our understanding of nature?
In Wildlife in the Anthropocene, Jamie Lorimer argues that the idea of nature as a pure and timeless place characterized by the absence of humans has come to an end. But life goes on. Wildlife inhabits everywhere and is on the move; Lorimer proposes the concept of wildlife as a replacement for nature. Offering a thorough appraisal of the Anthropocene—an era in which human actions affect and influence all life and all systems on our planet— Lorimer unpacks its implications for changing definitions of nature and the politics of wildlife conservation. Wildlife in the Anthropocene examines rewilding, the impacts of wildlife films, human relationships with charismatic species, and urban wildlife. Analyzing scientific papers, policy documents, and popular media, as well as a decade of fieldwork, Lorimer explores the new interconnections between science, politics, and neoliberal capitalism that the Anthropocene demands of wildlife conservation.
Imagining conservation in a world where humans are geological actors entangled within and responsible for powerful, unstable, and unpredictable planetary forces, this work nurtures a future environmentalism that is more hopeful and democratic.
Willa Cather - American Writers 36 was first published in 1964. 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.
William Carlos Williams - American Writers 24 was first published in 1963. 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.
William Collins and Eighteenth-Century English Poetry was first published in 1981. 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.
William Collins (1721–1759) is one of several eighteenth-century poets who have received more attention for what they are said to have anticipated—the full-blooded Romanticism of Wordsworth and Coleridge—than for what they have achieved. Collins's career as a poet was brief, but the handful of major poems that he wrote in the mid -1740s has stirred interest among critics intrigued by the complexity and obscurity of his work and by the illness and possible madness that prematurely ended his life. Combining historical scholarship with close readings of all Collins's poems, Richard Wendorf provides the most comprehensive and detailed study to be devoted to the work of this enigmatic figure and to the forces that shaped his literary career. In doing so, he places Collins within an eighteenth-century poetic context and shows that his gift for myth-making makes him a vital link between the mythic poetry of Shakespeare and Spenser and that of the Romantics.
Wendorf's opening and closing chapters examine the relationship between Collins's life and his work, providing an authoritative discussion of his supposed madness and of the myths of insanity that clouded his reputation in the eighteenth and nineteenth centuries. Wendorf argues that Collins's madness is problematical at best, and that much recent criticism is a distortion of his major work, which explores the transcendent powers of the irrational forces within us but is not necessarily the product of madness itself. The book's central chapters trace Collins's development as a poet and offer fresh approaches to his major odes. In these mature poems he turned from his early interest in Augustan poetry to very different sources of inspiration and came to reject the ordered and unified natural world of Pope and Thompson.
William D. Howells - American Writers 63 was first published in 1967. 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.
William Faulkner - American Writers 3 was first published in 1959. 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.
William James - American Writers 88 was first published in 1970. 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.
William of Sherwood's Treatise on Syncategorematic Words was first published in 1968. 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.
This is the first translation of an important medieval work in philosophy, an advanced treatise by the thirteenth-century English logician William of Sherwood. The treatise draws on doctrines developed in Sherwood's Introduction to Logic,which has also been translated by Professor Kretzmann.
William of Sherwood is an important figure in the development of the logica moderna,the distinctively medieval contribution to logic and semantics. As Professor Kretzmann explains, the logica moderna may have originally aimed only ad providing ad hoc rules regarding inferences that involve problematic locutions of ordinary discourse. But its principal aim soon became the development of a more or less general account of the ways in which words are used to stand for things or to affect the meanings of other words. In Sherwood's time the logica moderna seems to have been thought of as having two branches, an account of the "properties of terms" and an account of the signification and function of "syncategorematic words." Sherwood deals with the first branch in his Introduction to Logic and with the second branch in the treatise presented here.
The translation is copiously annotated to supply the kind of explanatory material a twentieth-century reader may need for an understanding of a thirteenth-century discussion. As Professor Kretzmann points out, many of the problems dealt with in this treatise closely resemble the problems of twentieth-century philosophical logic and philosophy of language.
William Styron - American Writers 98 was first published in 1971. 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.
The Wine of Eternity was first published in 1957. 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.
Ever since the small Baltic nation of Latvia became a part of the Soviet Union in 1940, its identity has been blurred to Western eyes. Many of its people have left their country in voluntary or forced exile. But, wherever they are today, the Latvians still cherish and preserve a rich national heritage of folklore and culture. Much of this is revealed in these stories, the work of an established Latvian writer who became a wartime refugee from his country.
This volume makes the work of Knuts Lesins available in English for the first time, although his writing has been published extensively in Europe in the original Latvian. In addition to the stories, the author provides a background sketch of the history and culture of Latvia. While much of the fascinating folklore of the country is interwoven in the stories, they are not primarily folk tales. They are perhaps best described as penetrating glimpses into human lives at moments of crisis or decision which reveal an individual's character and philosophy.
A journey into the soul of the coldest season.
The locus of Jim dale Huot-Vickery’s life is a remote cabin in the northern wilderness of Minnesota’s Boundary Waters region. More often than not, it is winter here, a fierce, beautiful season that dominates all living things with its relentless cold grip. This is the inspiration for Winter Sign, the profound story of fifteen years of surviving the seven-month-long odyssey of winter in the far north.
“We know parkas, mukluks, mittens, snowshoes, skis, and sled dogs,” Huot-Vickery writes. “Snow sparkles gold on cloudless winter mornings. There are shell-pink sunsets. Stars glimmer among northern lights. . . . For those of us who know this land, however, beauty is only part of the winter story. There are those long nights, those we rarely speak about, that surely and irrevocably shift the soul.”Against this backdrop, Huot-Vickery writes authoritatively on the ecology of the area and philosophically about winter’s probing of the human spirit. He explores the world of nature and the constant struggle for survival, including his own interactions with white-tailed deer and wolves.Huot-Vickery circles around paradoxes and themes that invade the land and his life: nature’s beauty and bounty pitted against danger and death; the challenge of self-reliance and the depths of isolation; loss and restoration. And always there is the unrelenting winter, filled with wonder and terror. At turns poignant and harrowing, Winter Sign explores the solitude of the dark night of the soul, and the sustenance and inspiration winter’s wild beauty provides. ISBN 0-8166-2969-2 Paper $15.95192 pages 5 x 8 NovemberTranslation inquiries: University of Minnesota PressThe first comprehensive exploration of Native American filmmaking and video production.
Native Americans have thrown themselves into filmmaking since the mid-1970s, producing hundreds of films and videos, and their body of work has had great impact on Native cultures and filmmaking itself. With their cameras, they capture the lives of Native people, celebrating community, ancestral lifeways, and identity. Not only artistic statements, the films are archives that document rich and complex Native communities and counter mainstream media portrayals.
Wiping the War Paint off the Lens traces the history of Native experiences as subjects, actors, and creators, and develops a critical framework for approaching Native work. Singer positions Native media as part of a larger struggle for "cultural sovereignty"-the right to maintain and protect cultures and traditions. Taking it out of a European-American context, she reframes the discourse of filmmaking, exploring oral histories and ancient lifeways inform Native filmmaking and how it seeks to heal the devastation of the past. Singer’s approach is both cultural and personal, provides both historical views and close textual readings, and may well set the terms of the critical debate on Native filmmaking.Wisdom in the Open Air traces the Norwegian roots of the strain of thinking called “deep ecology”—the search for the solutions to environmental problems by examining the fundamental tenets of our culture. Although Arne Naess coined the term in the 1970s, the insights of deep ecology actually reflect a tradition of thought that can be seen in the history of Norwegian culture, from ancient mountain myths to the radical ecoactivism of today.
Beginning with an introduction to Norway’s emphasis on nature and the wild, Reed and Rothenberg explore the birth of the environmental movement in the 1960s and 1970s. What follows is a collection of writings by prominent Norwegian thinkers on humanity and nature, most never before published in English. From Peter Wessel Zapffe, a twentieth-century Kierkegaardian figure, the list goes on to include Norwegian philosopher Arne Naess, activist-critic-artist Sigmund Kvaloy, wilderness educator Nils Faarland, novelist Finn Alneas, sociologist Johan Galtung, and social reformer Erik Dammann. Their fascinating points of view offer thoughts on the significance of modern life and what it means to be human in the face of the deteriorating global environment of the twentieth century. Wisdom in the Open Air asks and answers a fundamental question concerning the ecomovement: what is the role of deep, often abstract, thinking in the attempt to avert a very real ecological crisis?An exciting new writer looks at rural life and coming of age.
When Kent Meyers was sixteen years old, his father died of a stroke. There was corn to plant, cattle to feed, and a farm to maintain. Here, in a fresh and vibrant voice, Meyers recounts the wake of his father’s death and reflects on families, farms, and rural life in the Midwest.
Meyers tells the story of growing up on the farm, from the joys of playing in the hayloft as a boy to the steady pattern of chores. He describes the power of winter prairie winds, the excitement of building a fort in the woods, and the self-respect that comes from canning 120 quarts of tomatoes grown on your own land.Meyers’s father is the central figure around whom these memories revolve. After his father’s death, Meyers fills his shoes out of necessity and respect. In doing so, he discovers that his father was a great teacher and that he himself is no longer a boy but a man. Perhaps the most moving passages of The Witness of Combines acknowledge the simultaneous sadness and pride of growing up in response to death. Meyers recalls planting and harvesting the last crop, selling the family farm, and other emotional moments in a testament to his father, the family bond, and the value of hard work.Meyers’s perspective on life in the Midwest elegantly weaves daily farm life with his coming of age story, drawing readers from all walks of life into this brave and poignant work.“Meyers tells stories with precision and joy. He understands how the rhythms of the land bind farmers, give them hope and purpose.” Linda Hasselstrom, author of Land Circleside bar quote:“The Witness of Combines is written with simple, poetic dignity and a savvy for the land that can only come from having been raised up in it with eyes wide open.” Sam Shepard,author of Fool for LoveISBN 0-8166-3104-2 Paper $16.95248 pages 5 x 8 AugustTranslation inquiries: University of Minnesota PressA new, ethically based theory of identity by a major scholar.
Challenging the fundamental tenet of the multicultural movement-that social struggles turning upon race, gender, and sexuality are struggles for recognition-this work offers a powerful critique of current conceptions of identity and subjectivity based on Hegelian notions of recognition. The author’s critical engagement with major texts of contemporary philosophy prepares the way for a highly original conception of ethics based on witnessing.
Central to this project is Oliver’s contention that the demand for recognition is a symptom of the pathology of oppression that perpetuates subject-object and same-different hierarchies. While theorists across the disciplines of the humanities and social sciences focus their research on multiculturalism around the struggle for recognition, Oliver argues that the actual texts and survivors’ accounts from the aftermath of the Holocaust and slavery are testimonials to a pathos that is “beyond recognition.” Oliver traces many of the problems with the recognition model of subjective identity to a particular notion of vision presupposed in theories of recognition and misrecognition. Contesting the idea of an objectifying gaze, she reformulates vision as a loving look that facilitates connection rather than necessitates alienation. As an alternative, Oliver develops a theory of witnessing subjectivity. She suggests that the notion of witnessing, with its double meaning as either eyewitness or bearing witness to the unseen, is more promising than recognition for describing the onset and sustenance of subjectivity. Subjectivity is born out of and sustained by the process of witnessing-the possibility of address and response-which puts ethical obligations at its heart.Examines the relationship of “woman” to issues of non-western culture.
Examines the relationship of "woman" to issues of non-Western culture: ethnic spectatorship, popular literature, the construction of literary history, and the revolutionary production and emotional reception of national literature.
Women, Guerrillas, and Love was first published in 1996. 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.
How can literature show us what went awry in the process of liberation, and in the construction of a different, better world? Ileana Rodriguez pursues this question through a reading of "politically committed" literature—texts produced within the context of Latin American guerrilla movements. Che Guevara's diary, testimonios by Omar Cabezas and Tomás Borge, novels and short stories by Sergio Ramírez and Arturo Arias: These are among the works Rodriguez examines.
Rodriguez seeks to pinpoint the relationship between the collective and woman, and between woman and the nation-state. Women, Guerrillas, and Love challenges current assumptions about the relationship of gender and sexuality to writing and state building during revolutionary moments. Employing several theoretical paradigms—Marxism, feminism, deconstruction—these readings take into account the "implosion" of socialist or socialist-like societies responding to the expansion of positivistic cultures. The book participates in the debate over the subjugation of insolvent nationstates to the mandates of the market, and the consequent substitution of economic master narratives for historical ones.
Legends and rising stars of feminist film and video tell their stories.
Alexandra Juhasz asked twenty-one women to tell their stories-women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.
Women of Vision is a companion piece to Juhasz’s 1998 documentary of the same name. The book presents the complete interviews, allowing readers to hear directly the voices of these articulate, passionate women in an interactive remembering of feminist media history. Juhasz’s introduction provides a historical, theoretical, and aesthetic context for the interviews. These subjects have all shaped late twentieth-century film and video in fundamental ways, either as artists, producers, distributors, critics, or scholars, and they all believe that media are the most powerful tools for effecting change. Yet they are a very diverse group, with widely varying personal and professional backgrounds. By presenting their interviews together, Juhasz shows the differences among those involved in feminist media, but also the connections among them, and the way in which the field has been enriched by their sharing of knowledge and power. In the end, Juhasz not only records these women’s careers, she broadens our understanding of feminism and shows how feminist history and documentary are made.Interviewees: Pearl Bowser; Margaret Caples; Michelle Citron; Megan Cunningham; Cheryl Dunye; Vanalyne Green; Barbara Hammer; Kate Horsfield; Carol Leigh; Susan Mogul; Juanita Mohammed; Frances Negrón-Muntaner; Eve Oishi; Constance Penley; Wendy Quinn; Julia Reichert; Carolee Schneemann; Valerie Soe; Victoria Vesna; and Yvonne Welbon.The first book-length analysis of the language used by gay men.
Do gay men communicate with each other differently than they do with straight people? If they do, how is “gay men’s English” different from “straight English”? In Word’s Out, William Leap addresses these questions in an entertaining account that looks at gay men’s English as a cultural and a linguistic phenomenon.
Whereas previous studies of “gay language” have centered almost entirely on vocabulary, word history, and folklore, Word's Out focuses on the linguistic practices-cooperation, negotiation, and risk taking-that underlie gay men’s conversations, storytelling, verbal dueling, self-description, and construction of outrageous references. Leap “reads” conversations for covert and overt signs of gay men's English, using anecdotes drawn from gay dinner parties, late-night airplane flights, restaurants, department stores, and gourmet shops, and from other all-gay and gay/straight settings. He incorporates material from life-story narratives and other interviews and discussions with gay men, from gay magazines, newspapers, and books, and from events in his own life. The topics addressed include establishing the gay identities of “suspect gays,” recollections of gay childhood, erotic negotiation in health club locker rooms, and gay men’s language of AIDS. Leap shows how gay English speakers use language to create gay-centered spaces within public places, to protect themselves when speaking with strangers, and to establish common interests when speaking with “suspect gays,” and explores why learning gay English is a critical component in gay men’s socialization and entry into gay culture. Provocative and potentially controversial, Word's Out provides fascinating insight into the politics of gay experience by exploring the connections between language and daily experience in gay men's lives.In these lyrical and powerful essays, Thomas Glave draws on his experiences as a politically committed, gay Jamaican American to deliver a condemnation of the prejudices, hatreds, and inhumanities that persist in the United States and elsewhere. Exposing the hypocrisies of liberal multiculturalism, Glave offers instead a politics of heterogeneity in which difference informs the theory and practice of democracy. At the same time, he experiments with language to provide a model of creative writing as a tool for social change. From the death of black gay poet Essex Hemphill to the revelations of abuse at Abu Ghraib, Glave puts forth an ethical understanding of human rights to make vital connections across nations, races, genders, and sexualities.
Thomas Glave is assistant professor of English at SUNY Binghamton. He is author of Whose Song? and Other Stories.
The Work in the World was first published in 1996. 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.
The writing or reading or buying or selling or judging of a written work is always at the same time the act of making a place-or making places. The author creates a special sort of place for his ideas; the reader, for her engagement with the author; the bookseller, for the notion of books as property to be categorized and sold; and so on. In this book, Michael R. Curry develops a geography of this process, a theory of the nature of space and places in written work.
The Work in the World focuses on a paradox at the heart of this project: Although the written work is inextricably bound up in the construction of the places in which it is written, read, published, circulated, and cited, it nonetheless denies the importance of places. As the product of modern modes of knowledge, technology, and intellectual property, written work seems to say instead that only the encompassing universal space of ideas, objects, and commodities matters.
Distinctive for the way it views theories in geography and science as fundamentally embedded in written works, The Work in the World argues eloquently that the philosophical questions raised by theories can only be addressed within the broader context of the work.
Michael R. Curry is associate professor of geography at the University of California, Los Angeles.
Examines the new role of cities in a global economy.
Are cities obsolete relics of an earlier era? In this pathbreaking book, Susan E. Clarke and Gary L. Gaile contend that contrary to this conventional wisdom, cities are growing in importance. Far from irrelevant, local governments are vital political arenas for the new work of cities-empowering their citizens to adapt and serve as catalysts for the global economy.
Using Robert Reich’s The Work of Nations as a point of departure, the authors argue that globalism, coupled with increasing disparities of wealth and power, changes not only the work of nations but also the role of communities. Clarke and Gaile begin by detailing the transformation of the United States to a postindustrial economy situated in a “global web.” They then examine the emergence of local entrepreneurial policy choices in the context of economic and political restructuring and in the absence of federal resources. Using empirical data to test assumptions about what leads cities to choose new policies, Clarke and Gaile explore local context through four case studies: Cleveland, Tacoma, Syracuse, and Jacksonville. They discuss human capital as the linchpin of globalization, arguing that analytical ability, information skills, and the capacity to innovate are all key to wealth creation. In conclusion, they contend that inattention to the decline in human and social capital will ultimately undermine any local development efforts-unless local policymakers craft responses to globalization that integrate rather than isolate citizens.The Work of Cities is both bold and nuanced, pragmatic yet compassionate in its recommendations. It is essential reading for anyone who cares about the fate of our metropolitan communities and the people who live there. 0-8166-2892-0 Cloth $47.95xx0-8166-2893-9 Paper $18.95240 pages 9 tables, 2 figures 5 7/8 x 9 July Globalization and Community Series, volume 1Translation inquiries: University of Minnesota PressAn unheralded union battle offers new insight into identity politics.
In 1991, Columbia University’s one thousand clerical workers launched a successful campaign for justice in their workplace. This diverse union-two-thirds black and Latina, three-fourths women-was committed to creating an inclusive movement organization and to fighting for all kinds of justice. How could they address the many race and gender injustices members faced, avoid schism, and maintain the unity needed to win? Sharon Kurtz, an experienced union activist and former clerical worker herself, was welcomed into the union and pursued these questions. Using this case study and secondary studies of sister clerical unions at Yale and Harvard, she examines the challenges and potential of identity politics in labor movements.
With the Columbia strike as a point of departure, Kurtz argues that identity politics are valuable for mobilizing groups, but often exclude members and their experiences of oppression. However, Kurtz believes that identity politics should not be abandoned as a component in building movements, but should be reframed-as multi-identity politics. In the end she shows an approach to organizing with great potential impact not only for labor unions but for any social movement.A trailblazing interrogation of the cultural, political, and economic implications of World Bank hegemony.
World Bank literature is more than a concept-it is a provocation, a call to arms. It is intended to prompt questions about each word, to probe globalization, political economy, and the role of literary and cultural studies. As asserted in this major work, it signals a radical rewriting of academic debates, a rigorous analysis of the World Bank and the International Monetary Fund (IMF), and a consideration of literature that deals with new global realities.
Made more relevant than ever by momentous antiglobalization demonstrations in Seattle and Genoa, World Bank Literature brings together essays by a distinguished group of economists, cultural and literary critics, social scientists, and public policy analysts to ask how to understand the influence of the World Bank/IMF on global economic power relations and cultural production. The authors attack this question in myriad ways, examining World Bank/IMF documents as literature, their impact on developing nations, the relationship between literature and globalization, the connection between the academy and the global economy, and the emergence of coalitions confronting the new power. World Bank Literature shows, above all, the multifarious and sometimes nefarious ways that abstract academic debates play themselves out concretely in social policy and cultural mores that reinforce traditional power structures. Contributors: Anthony C. Alessandrini, Kent State U; Bret Benjamin, SUNY, Albany; John Berger; Suzanne Bergeron, U of Michigan, Dearborn; Lorrayne Carroll, U of Southern Maine; Manthia Diawara, NYU; Grant Farred, Duke; Barbara Foley, Rutgers; Claire F. Fox, U of Iowa; Rosemary Hennessy, SUNY, Albany; Doug Henwood, Left Business Observer; Caren Irr, Brandeis; Joseph Medley, U of Southern Maine; Cary Nelson, U of Illinois; Gautam Premnath, U of Massachusetts, Boston; Bruce Robbins, Columbia; Andrew Ross, NYU; Subir Sinha, U of London; Kenneth Surin, Duke; Rashmi Varma, U of North Carolina; Evan Watkins, U of California, Davis; Phillip E. Wegner, U of Florida; Richard Wolff, U of Massachusetts.Part personal memoir, part philosophical reflection and written in the midst of the pandemic in 2021, The World Is Gone employs the Robinson Crusoe fable to launch an existential investigation of the effects of extreme isolation, profound boredom, nightly insomnia, and the fear of madness associated with the loss of a world populated by others.
Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
Worms. Natural history is riddled with them. Literature is crawling with them. From antiquity to today, the ubiquitous and multiform worm provokes an immediate discomfort and unconscious distancing: it remains us against them in anthropocentric anxiety. So there is always something muddled, or dirty, or even offensive when talking about worms. Rehabilitating the lowly worm into a powerful aesthetic trope, Janelle A. Schwartz proposes a new framework for understanding such a strangely animate nature. Worms, she declares, are the very matter with which the Romantics rethought the relationship between a material world in constant flux and the human mind working to understand it.
Worm Work studies the lesser-known natural historical records of Abraham Trembley and his contemporaries and the familiar works of Erasmus Darwin, Charles Darwin, William Blake, Mary Shelley, and John Keats, to expose the worm as an organism that is not only reviled as a taxonomic terror but revered as a sign of great order in nature as well as narrative. This book traces a pattern of cultural production, a vermiculture that is as transformative of matter as it is of mind. It distinguishes decay or division as positive processes in Romantic era writings, compounded by generation or renewal and used to represent the biocentric, complex structuring of organicism.
Offering the worm as an archetypal figure through which to recast the evolution of a literary order alongside questions of taxonomy from 1740 to 1820 and on, Schwartz unearths Romanticism as a rich humus of natural historical investigation and literary creation.
Wright Morris - American Writers 69 was first published in 1968. 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.
Writing, one of Marguerite Duras’s last works, is a meditation on the process of writing and on her need for solitude in order to do it. In the five short pieces collected in this volume, she explores experiences that had an emotional impact on her and that inspired her to write. These vary from the death of a pilot in World War II, to the death of a fly, to an art exhibition. Two of the pieces were made into documentary films, and one was originally a short film. Both autobiographical and fictional, like much of her work, Writing displays Duras’s unique worldview and sensitive insight in her simple and poetic prose.
The legal texts and aspirational ideals of human rights are usually understood and applied in a global context with little bearing on the legal discourse, domestic political struggles, or social justice concerns within the United States. In Writing Human Rights, Crystal Parikh uses the international human rights regime to read works by contemporary American writers of color—Toni Morrison, Chang-rae Lee, Ana Castillo, Aimee Phan, and others—to explore the conditions under which new norms, more capacious formulations of rights, and alternative kinds of political communities emerge.
Parikh contends that unlike humanitarianism, which views its objects as victims, human rights provide avenues for the creation of political subjects. Pairing the ethical deliberations in such works as Beloved and A Gesture Life with human rights texts like the United Nations Convention Against Torture, she considers why principles articulated as rights in international conventions and treaties—such as the right to self-determination or the right to family—are too often disregarded at home. Human rights concepts instead provide writers of color with a deeply meaningful method for political and moral imagining in their literature.
Affiliating transnational works of American literature with decolonization, socialist, and other political struggles in the global south, this book illuminates a human rights critique of idealized American rights and freedoms that have been globalized in the twenty-first century. In the absence of domestic human rights enforcement, these literatures provide a considerable repository for those ways of life and subjects of rights made otherwise impossible in the present antidemocratic moment.
One teacher's dispatches from the front lines of the culture wars.
In the early 1990s, Linda Brodkey ended up on the front page of the New York Times and in the columns of George Will and other conservative pundits. The furor was over the “Writing about Difference” syllabus she helped create at the University of Texas, an effort that came to be one more casualty in the debate over multiculturalism in the academy. Writing Permitted in Designated Areas Only is made up of Brodkey’s dispatches from the front lines of the culture wars.
The essays in this book raise provocative questions about the way writing is taught in the United States. Brodkey lambastes conventional composition courses, which since their inception in the mid-nineteenth century have been the site of conflict over what “literacy” really means. She argues that such courses have institutionalized the practice of separating form and content, relegating teachers to the tasks of policing grammar and patrolling the borders of style and literature. Ultimately, this separation of structure and meaning depoliticizes the act of writing, creating an artificial distinction between what is being said and how it is expressed. Comprising specific examples of student work in addition to Brodkey’s own essays, Writing Permitted in Designated Areas Only works against this dynamic. Ranging from personal essay (“Writing on the Bias”) to hard-hitting polemic (“Writing Permitted in Designated Areas Only”) and touching on many of the major issues in the teaching of writing today, this volume explores alternatives to the standard methods for teaching composition. The result is a passionate plea for the loosing of writing to achieve its full power and potential; to unharness writing—and its teachers—from the institutional strictures that stifle both creativity and independent thought.Examining the expansive nature of Indigenous gender representations in history, literature, and film
Within Native American and Indigenous studies, the rise of Indigenous masculinities has engendered both productive conversations and critiques. Lisa Tatonetti intervenes in this conversation with Written by the Body by centering how female, queer, and/or Two-Spirit Indigenous people take up or refute masculinity, and, in the process, offer more expansive understandings of gender.
Written by the Body moves from the eighteenth- and nineteenth-century archive to turn-of-the-century and late-twentieth-century fiction to documentaries, HIV/AIDS activism, and, finally, recent experimental film and literature. Across it all, Tatonetti shows how Indigenous gender expansiveness, and particularly queer and non-cis gender articulations, moves between and among Native peoples to forge kinship, offer protection, and make change. She charts how the body functions as a somatic archive of Indigenous knowledge in Native histories, literatures, and activisms—exploring representations of Idle No More in the documentary Trick or Treaty, the all-female wildland firefighting crew depicted in Apache 8, Chief Theresa Spence, activist Carole laFavor, S. Alice Callahan, Thirza Cuthand, Joshua Whitehead, Carrie House, and more.
In response to criticisms of Indigenous masculinity studies, Written by the Body de-sutures masculinity from the cis-gendered body and investigates the ways in which female, trans, and otherwise nonconforming masculinities carry the traces of Two-Spirit histories and exceed the limitations of settler colonial imaginings of gender.
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