An innovative contemporary history that blends insights from a variety of disciplines to highlight how a storied African cancer institute has shaped lives and identities in postcolonial Uganda. Over the past decade, an increasingly visible crisis of cancer in Uganda has made local and international headlines. Based on transcontinental research and public engagement with the Uganda Cancer Institute that began in 2010, Africanizing Oncology frames the cancer hospital as a microcosm of the Ugandan state, as a space where one can trace the lived experiences of Ugandans in the twentieth century. Ongoing ethnographic fieldwork, patient records, oral histories, private papers from US oncologists, American National Cancer Institute records, British colonial office reports, and even the architecture of the institute itself show how Ugandans understood and continue to shape ideas about national identity, political violence, epidemics, and economic life. Africanizing Oncology describes the political, social, technological, and biomedical dimensions of how Ugandans created, sustained, and transformed this institute over the past half century. With insights from science and technology studies and contemporary African history, Marissa Mika’s work joins a new wave of contemporary histories of the political, technological, moral, and intellectual aspirations and actions of Africans after independence. It contributes to a growing body of work on chronic disease and situates the contemporary urgency of the mounting cancer crisis on the continent in a longer history of global cancer research and care. With its creative integration of African studies, science and technology studies, and medical anthropology, Africanizing Oncology speaks to multiple scholarly communities.

One of Poland’s most important and independent postwar artists, Andrzej Wróblewski (1927–57) in his short life created his own highly individual, suggestive, and prolific form of abstract and figurative painting that continues to inspire artists today. This volume offers a stunning presentation and thorough re-evaluation of his work and its legacy in the international context of art history. Offering an insightful picture of the world of postwar painting in communist Europe, and highlighting Wróblewski’s political engagement, the book helps us to understand the immensely evocative vision of war and oppression that he created. This close look at a painter and a period that are of growing interest for international art historians will serve to further cement Wróblewski in the postwar pantheon.

Mar Ka lives in and writes from the foothills of Alaska’s Chugach Mountains. Be-Hooved, her new poetry collection, creates a layered spiritual memoir of her decades in the northern wilderness. The poems inhabit her surroundings—structured along the seasons and the migration patterns of the Porcupine Caribou Herd—and are wrought with a fine and luminous language.

Entrancing, profound, and startling, this book is a testament to hope before change, persistence before confusion, and empathy before difference: all the world’s light and all the world’s dark / can fit into an eye into a heart.

The work of Slovak sculptor Maria Bartuszová (1936–96) was first presented to international audiences in Kassel in 2007. Although her art has appeared in influential exhibitions and been included in prestigious contemporary art collections, up until now, she has yet to receive the widespread recognition she deserves. Dziewanska’s book offers distinct perspectives on Bartuszová’s work from renowned international critics in an effort to increase our awareness of her sculptures.

Working alone behind the Iron Curtain, Bartuszová was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster—a material that, from a sculptor’s point of view, is both primitive and common—the book deftly reveals how Bartuszová experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszová: Provisional Forms is an important contribution to the literature on great female artists.

Teacher's supplemental information.

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement.

Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .
 

The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for kinetic and op art.
As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including pop, minimalism, and conceptualism—another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.
 

This collaborative monograph will commemorate the centenary of the Prague English Studies, officially inaugurated in 1912 by the appointment of Vilém Mathesius. Apart from reassessing the work of major representatives, such as Mathesius, Vladislav Vancura and others, and reviewing important developments in literature-oriented Prague English Studies with respect to Prague Structuralism. Prague English Studies and the Transformation of Philologies will focus on the methodological problems of the discipline related to the transformation of humanistic and modern philologies, searching for the links between two historically distinct interdisciplinary projects: humanist philology and structuralist semiology. 

Selected contributions to the Ninth World Shakespeare Congress, which took place in July 2011 in Prague, represent the contemporary state of Shakespeare studies in thirty-eight countries worldwide. Apart from readings of Shakespeare’s plays and poems, more than forty chapters map Renaissance contexts of his art in politics, theater, law, or material culture and discuss numerous cases of the impact of his works in global culture from the Americas to the Far East, including stage productions, book culture, translations, film and television adaptations, festivals, and national heritage. The last section of the book focuses on the afterlife of Shakespeare in the work of the leading British dramatist Tom Stoppard.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

Highlights the persuasive devices most common to fascist appeals
 
Fascism has resurfaced as one of the most pressing problems of our time. The rise of extremist parties and candidates in Europe, the United States, and around the globe has led even mainstream political commentators to begin using the term “fascism” to describe dangerous movements that have revived and repackaged many of the strategies long thought to have been relegated to the margins of political rhetoric. No longer just confined to the state regimes of the past, fascism thrives today as a globally self-augmenting, self-propagating rhetorical phenomenon with a variety of faces and expressions.

The Rhetoric of Fascism defines and interprets the common persuasive devices that characterize fascist discourse to understand the nature of its enduring appeal. By approaching fascism from a rhetorical perspective, this volume complements established political and sociological understandings of fascism as a movement or regime. A rhetorical approach studies fascism less as a party one joins than as a set of persuasive strategies one adopts. Fascism spreads precisely because it is not a coherent entity. Instead, it exists as a loosely bound and often contradictory collection of persuasive trajectories that have attained enough coherence to mobilize and channel the passions of a self-constituted mass of individuals.

Introductory chapters focus on general theories of fascism drawn from twentieth-century history and theory. Contributors investigate specific historical figures and their relationship to contemporary rhetorics, focusing on a specific rhetorical device that is characteristic of fascist rhetoric. A common thread throughout every chapter is that fascist devices are appealing because they speak to us in the familiar language of our culture. As we are seduced by one device at a time, we soon find ourselves part of a movement, a group, or a campaign that makes us act in ways we might never have imagined. This volume reveals that fascism may be closer to home than we think.

CONTRIBUTORS
Patrick D. Anderson / Rya Butterfield / Nathan Crick / Elizabeth R. Earle / Zac Gershberg / Stephen J. Hartnett / Marie-Odile N. Hobeika / Sean Illing / Jacob A. Miller / Fernando Ismael Quiñones Valdivia / Patricia Roberts-Miller / Raquel M. Robvais / Bradley A. Serber / Ryan Skinnell