Tadiar treats the historical experiences articulated in feminist, urban protest, and revolutionary literatures of the 1960s–90s as “cultural software” for the transformation of dominant social relations. She considers feminist literature in relation to the feminization of labor in the 1970s, when between 300,000 and 500,000 prostitutes were working in the areas around U.S. military bases, and in the 1980s and 1990s, when more than five million Filipinas left the country to toil as maids, nannies, nurses, and sex workers. She reads urban protest literature in relation to authoritarian modernization and crony capitalism, and she reevaluates revolutionary literature’s constructions of the heroic revolutionary subject and the messianic masses, probing these social movements’ unexhausted cultural resources for radical change.
Contributors. Leonard Blussé, Wen-Chin Chang, Lucille Chia, Bien Chiang, Nola Cooke, Jean DeBernardi, C. Patterson Giersch, Takeshi Hamashita, Kwee Hui Kian, Li Tana, Lin Man-houng, Masuda Erika, Adam McKeown, Anthony Reid , Sun Laichen, Heather Sutherland, Eric Tagliacozzo, Carl A. Trocki, Wang Gungwu, Kevin Woods, Wu Xiao
Several contributors examine how fascism was understood in the 1930s by, for example, influential theorists, an antifascist literary group, and leading intellectuals responding to capitalist modernization. Others explore the idea that fascism’s solution to alienation and exploitation lay in efforts to beautify work, the workplace, and everyday life. Still others analyze the realization of and limits to fascist aesthetics in film, memorial design, architecture, animal imagery, a military museum, and a national exposition. Contributors also assess both manifestations of and resistance to fascist ideology in the work of renowned authors including the Nobel-prize-winning novelist and short-story writer Kawabata Yasunari and the mystery writers Edogawa Ranpo and Hamao Shirō. In the work of these final two, the tropes of sexual perversity and paranoia open a new perspective on fascist culture. This volume makes Japanese fascism available as a critical point of comparison for scholars of fascism worldwide. The concluding essay models such work by comparing Spanish and Japanese fascisms.
Contributors. Noriko Aso, Michael Baskett, Kim Brandt, Nina Cornyetz, Kevin M. Doak, James Dorsey, Aaron Gerow, Harry Harootunian, Marilyn Ivy, Angus Lockyer, Jim Reichert, Jonathan Reynolds, Ellen Schattschneider, Aaron Skabelund, Akiko Takenaka, Alan Tansman, Richard Torrance, Keith Vincent, Alejandro Yarza
Full Metal Apache introduces English-language readers to a vast array of Japanese writers and performers and considers their work in relation to the output of William Gibson, Thomas Pynchon, H. G. Wells, Jack London, J. G. Ballard, and other Westerners. Tatsumi moves from the poetics of metafiction to the complex career of Madame Butterfly stories and from the role of the Anglo-American Lafcadio Hearn in promoting Japanese folklore within Japan during the nineteenth century to the Japanese monster Godzilla as an embodiment of both Japanese and Western ideas about the Other. Along the way, Tatsumi develops original arguments about the self-fashioning of “Japanoids” in the globalist age, the philosophy of “creative masochism” inherent within postwar Japanese culture, and the psychology of “Mikadophilia” indispensable for the construction of a cyborg identity. Tatsumi’s exploration of the interplay between Japanese and American cultural productions is as electric, ebullient, and provocative as the texts and performances he analyzes.
Retelling the history of Western modernity, Taylor traces the development of a distinct social imaginary. Animated by the idea of a moral order based on the mutual benefit of equal participants, the Western social imaginary is characterized by three key cultural forms—the economy, the public sphere, and self-governance. Taylor’s account of these cultural formations provides a fresh perspective on how to read the specifics of Western modernity: how we came to imagine society primarily as an economy for exchanging goods and services to promote mutual prosperity, how we began to imagine the public sphere as a metaphorical place for deliberation and discussion among strangers on issues of mutual concern, and how we invented the idea of a self-governing people capable of secular “founding” acts without recourse to transcendent principles. Accessible in length and style, Modern Social Imaginaries offers a clear and concise framework for understanding the structure of modern life in the West and the different forms modernity has taken around the world.
Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.
The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art.
Contributors
Sabina Berman
Tania Bruguera
Petrona de la Cruz Cruz
Diamela Eltit
Griselda Gambaro
Astrid Hadad
Teresa Hernández
Rosa Luisa Márquez
Teresa Ralli
Diana Raznovich
Jesusa Rodríguez
Denise Stoklos
Katia Tirado
Ema Villanueva
Contributors. Judith Bettelheim, Sue-Ellen Case, Juan Flores, Jean Franco, Donald H. Frischmann, Guillermo Gómez-Peña, Jorge Huerta, Tiffany Ana López, Jacqueline Lazú, María Teresa Marrero, Cherríe Moraga, Kirsten F. Nigro, Patrick O’Connor, Jorge Salessi, Alberto Sandoval, Cynthia Steele, Diana Taylor, Juan Villegas, Marguerite Waller
Taylor traces the progression of several major thrusts in urban environmental activism, including the alleviation of poverty; sanitary reform and public health; safe, affordable, and adequate housing; parks, playgrounds, and open space; occupational health and safety; consumer protection (food and product safety); and land use and urban planning. At the same time, she presents a historical analysis of the ways race, class, and gender shaped experiences and perceptions of the environment as well as environmental activism and the construction of environmental discourses. Throughout her analysis, Taylor illuminates connections between the social and environmental conflicts of the past and those of the present. She describes the displacement of people of color for the production of natural open space for the white and wealthy, the close proximity between garbage and communities of color in early America, the cozy relationship between middle-class environmentalists and the business community, and the continuous resistance against environmental inequalities on the part of ordinary residents from marginal communities.
Beginning with a focus on musical manifestations of colonialism and imperialism, Taylor discusses how the “discovery” of the New World and the development of an understanding of self as distinct from the other, of “here” as different from “there,” was implicated in the development of tonality, a musical system which effectively creates centers and margins. He describes how musical practices signifying nonwestern peoples entered the western European musical vocabulary and how Darwinian thought shaped the cultural conditions of early-twentieth-century music. In the era of globalization, new communication technologies and the explosion of marketing and consumption have accelerated the production and circulation of tropes of otherness. Considering western music produced under rubrics including multiculturalism, collaboration, hybridity, and world music, Taylor scrutinizes contemporary representations of difference. He argues that musical interpretations of the nonwestern other developed hundreds of years ago have not necessarily been discarded; rather they have been recycled and retooled.
The sharing of personal stories is an integral part of Hale Mua fellowship, and Tengan’s account is filled with members’ first-person narratives. At the same time, Tengan explains how Hale Mua rituals and practices connect to broader projects of cultural revitalization and Hawaiian nationalism. He brings to light the tensions that mark the group’s efforts to reclaim indigenous masculinity as they arise in debates over nineteenth-century historical source materials and during political and cultural gatherings held in spaces designated as tourist sites. He explores class status anxieties expressed through the sharing of individual life stories, critiques of the Hale Mua registered by Hawaiian women, and challenges the group received in dialogues with other indigenous Polynesians. Native Men Remade is the fascinating story of how gender, culture, class, and personality intersect as a group of indigenous Hawaiian men work to overcome the dislocations of colonial history.
While engaging a wide spectrum of Native American writing, Teuton focuses on three of the most canonized and, he contends, most misread novels of the era—N. Scott Momaday’s House Made of Dawn (1968), James Welch’s Winter in the Blood (1974), and Leslie Marmon Silko’s Ceremony (1977). Through his readings, he demonstrates the utility of tribal realism as an interpretive framework to explain social transformations in Indian Country during the Red Power era and today. Such transformations, Teuton maintains, were forged through a process of political awakening that grew from Indians’ rethought experience with tribal lands and oral traditions, the body and imprisonment, in literature and in life.
Scholars of history, women’s studies, literature, and cultural studies follow the Modern Girl around the world, analyzing her manifestations in Germany, Australia, China, Japan, France, India, the United States, Russia, South Africa, and Zimbabwe. Along the way, they demonstrate how the economic structures and cultural flows that shaped a particular form of modern femininity crossed national and imperial boundaries. In so doing, they highlight the gendered dynamics of interwar processes of racial formation, showing how images and ideas of the Modern Girl were used to shore up or critique nationalist and imperial agendas. A mix of collaborative and individually authored chapters, the volume concludes with commentaries by Kathy Peiss, Miriam Silverberg, and Timothy Burke.
Contributors: Davarian L. Baldwin, Tani E. Barlow, Timothy Burke, Liz Conor, Madeleine Yue Dong, Anne E. Gorsuch, Ruri Ito, Kathy Peiss, Uta G. Poiger, Priti Ramamurthy, Mary Louise Roberts, Barbara Sato, Miriam Silverberg, Lynn M. Thomas, Alys Eve Weinbaum
Thomas combines historical research with fieldwork she conducted in Jamaica between 1993 and 2003. Drawing on her research in a rural hillside community just outside Kingston, she looks at how Jamaicans interpreted and reproduced or transformed on the local level nationalist policies and popular ideologies about progress. With detailed descriptions of daily life in Jamaica set against a backdrop of postcolonial nation-building and neoliberal globalization, Modern Blackness is an important examination of the competing identities that mobilize Jamaicans locally and represent them internationally.
The contributors examine the contexts in which Pacific tattoos were “discovered” by Europeans, track the history of the tattooing of Europeans visiting the region, and look at how Pacific tattooing was absorbed, revalued, and often suppressed by agents of European colonization. They consider how European art has incorporated tattooing, and they explore contemporary manifestations of Pacific tattoo art, paying particular attention to the different trajectories of Samoan, Tahitian, and Maori tattooing and to the meaning of present-day appropriations of tribal tattoos. New research has uncovered a fascinating visual archive of centuries-old tattoo images, and this richly illustrated volume includes a number of those—many published here for the first time—alongside images of contemporary tattooing in Polynesia and Europe. Tattoo offers a tantalizing glimpse into the plethora of stories and cross-cultural encounters that lie between the blood on a sailor’s backside in the eighteenth century and the hammering of a Samoan tattoo tool in the twenty-first.
Contributors. Peter Brunt, Anna Cole, Anne D’Alleva, Bronwen Douglas, Elena Govor, Makiko Kuwahara, Sean Mallon, Linda Waimarie Nikora, Mohi Rua, Cyril Siorat, Ngahuia Te Awekotuku, Nicholas Thomas, Joanna White
Ranging in age from twenty-six to eighty-six, the men whose stories are presented here include some of the elder statesmen of antiracism work as well as members of the newest generation of activists. They come from across the United States—from Denver, Nashville, and San Jose; rural North Carolina, Detroit, and Seattle. Some are straight; some are gay. A few—such as historian Herbert Aptheker, singer/songwriter Si Kahn, Stetson Kennedy (a Klan infiltrator in the 1940s), and Richard Lapchick (active in organizing the sports community against apartheid)—are relatively well known; most are not. Among them are academics, ministers, police officers, firefighters, teachers, journalists, union leaders, and full-time community organizers. They work with Latinos and African-, Asian-, and Native-Americans. Many ground their work in spiritual commitments. Their inspiring personal narratives—whether about researching right-wing groups, organizing Central American immigrants, or serving as pastor of an interracial congregation—connect these men with one another and with their allies in the fight against racism in the United States.
All authors’ royalties go directly to fund antiracist work. To read excerpts from the book, please visit http://www.whitemenchallengingracism.com/
Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the “tropicalizing images” and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands’ black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures.
Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists—including Christopher Cozier, David Bailey, and Irénée Shaw—at the same time that they remain a staple of postcolonial governments’ vigorous efforts to attract tourists.
Challenging the universalizing tendencies of postcolonial theory as it has developed in the Anglophone academy, the contributors are attentive to the crucial ways in which the histories of Latin American countries—with their creole elites, hybrid middle classes, subordinated ethnic groups, and complicated historical relationships with Spain and the United States—differ from those of other former colonies in the southern hemisphere. Yet, while acknowledging such differences, the volume suggests a host of provocative, critical connections to colonial and postcolonial histories around the world.
Contributors
Thomas Abercrombie
Shahid Amin
Jorge Cañizares-Esguerra
Peter Guardino
Andrés Guerrero
Marixa Lasso
Javier Morillo-Alicea
Joanne Rappaport
Mauricio Tenorio-Trillo
Mark Thurner
Contributors. Mary A. Bufwack, Don Cusic, Curtis W. Ellison, Mark Fenster, Vivien Green Fryd, Teresa Goddu, T. Walter Herbert, Christine Kreyling, Michael Kurek, Amy Schrager Lang, Charmaine Lanham, Bill Malone, Christopher Metress, Jocelyn Neal, Teresa Ortega, Richard A. Peterson, Ronnie Pugh, John W. Rumble, David Sanjek, Cecelia Tichi, Pamela Wilson, Charles K. Wolfe
Between 1936 and 1939, Roosevelt’s perceptions of the Spanish Civil War were transformed. Initially indifferent toward which side won, FDR became an increasingly committed supporter of the leftist government. He believed that German and Italian intervention in Spain was part of a broader program of fascist aggression, and he worried that the Spanish Civil War would inspire fascist revolutions in Latin America. In response, Roosevelt tried to send food to Spain as well as illegal covert aid to the Spanish government, and to mediate a compromise solution to the civil war. However unsuccessful these initiatives proved in the end, they represented an important stage in Roosevelt’s emerging strategy to aid democracy in Europe.
North American and British petroleum companies, seeking to maintain their stakes in Venezuela, promoted the idea that their interests were synonymous with national development. They set up oil camps—residential communities to house their workers—that brought Venezuelan employees together with workers from the United States and Britain, and eventually with Chinese, West Indian, and Mexican migrants as well. Through the camps, the companies offered not just housing but also schooling, leisure activities, and acculturation into a structured, corporate way of life. Tinker Salas contends that these practices shaped the heart and soul of generations of Venezuelans whom the industry provided with access to a middle-class lifestyle. His interest in how oil suffused the consciousness of Venezuela is personal: Tinker Salas was born and raised in one of its oil camps.
In analyzing the popularity of Pokémon, this innovative volume addresses core debates about the globalization of popular culture and about children’s consumption of mass-produced culture. Topics explored include the origins of Pokémon in Japan’s valorization of cuteness and traditions of insect collecting and anime; the efforts of Japanese producers and American marketers to localize it for foreign markets by muting its sex, violence, moral ambiguity, and general feeling of Japaneseness; debates about children’s vulnerability versus agency as consumers; and the contentious question of Pokémon’s educational value and place in school. The contributors include teachers as well as scholars from the fields of anthropology, media studies, sociology, and education. Tracking the reception of Pokémon in Japan, the United States, Great Britain, France, and Israel, they emphasize its significance as the first Japanese cultural product to enjoy substantial worldwide success and challenge western dominance in the global production and circulation of cultural goods.
Contributors. Anne Allison, Linda-Renée Bloch, Helen Bromley, Gilles Brougere, David Buckingham, Koichi Iwabuchi, Hirofumi Katsuno, Dafna Lemish, Jeffrey Maret, Julian Sefton-Green, Joseph Tobin, Samuel Tobin, Rebekah Willet, Christine Yano
By focusing on changing patterns of production and consumption over time, the contributors reconstruct complex webs of relationships and economic processes, highlighting Latin America’s central and interactive place in the world economy. They show how changes in coffee consumption habits, clothing fashions, drug usage, or tire technologies in Europe, Asia, and the Americas reverberate through Latin American commodity chains in profound ways. The social and economic outcomes of the continent’s export experience have been mixed. By analyzing the dynamics of a wide range of commodities over a five-hundred-year period, From Silver to Cocaine highlights this diversity at the same time that it provides a basis for comparison and points to new ways of doing global history.
Contributors. Marcelo Bucheli, Horacio Crespo, Zephyr Frank, Paul Gootenberg, Robert Greenhill, Mary Ann Mahony, Carlos Marichal, David McCreery, Rory Miller, Aldo Musacchio, Laura Nater, Ian Read, Mario Samper, Steven Topik, Allen Wells
Contributors. Jane Collins, Cathy N. Davidson, Virginia R. Dominguez, Mark Edmundson, Gerald Graff, Richard Inglis, Aldona Jonaitis, Alice Yaeger Kaplan, Catherine Lutz, Nancy K. Miller, Linda Orr, Andrew Ross, Henry M. Sayre, Jane Tompkins, Marianna Torgovnick
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