The only comprehensive and up-to-date look at Reform Judaism, this book analyzes the forces currently challenging the Reform movement, now the largest Jewish denomination in the United States.
To distinguish itself from Orthodox and Conservative Judaism, the Reform movement tries to be an egalitarian, open, and innovative version of the faith true to the spirit of the tradition but nonetheless fully compatible with modern secular life. Promoting itself in this way, Reform Judaism has been tremendously successful in recruiting a variety of people—intermarried families, feminists, gays and lesbians, and interracial families among others—who resist more traditional forms of worship.
As an unintended result of this success, the movement now struggles with an identity crisis brought on by its liberal theology, which teaches that each Jew is free to practice Judaism more or less as he or she pleases. In the absence of the authority that comes from a theology based on a commanding, all-powerful God, can Reform Judaism continue to thrive? Can it be broadly inclusive and still be uniquely and authentically Jewish?
Taking this question as his point of departure, Dana Evan Kaplan provides a broad overview of the American Reform movement and its history, theology, and politics. He then takes a hard look at the challenges the movement faces as it attempts to reinvent itself in the new millennium. In so doing, Kaplan gives the reader a sense of where Reform Judaism has come from, where it stands on the major issues, and where it may be going.
Addressing the issues that have confronted the movement—including the ordination of women, acceptance of homosexuality, the problem of assimilation, the question of rabbinic officiation at intermarriages, the struggle for acceptance in Israel, and Jewish education and others—Kaplan sheds light on the connection between Reform ideology and cultural realities. He unflinchingly, yet optimistically, assesses the movement’s future and cautions that stormy weather may be ahead.
The American Womans Home, originally published in 1869, was one of the late nineteenth centurys most important handbooks of domestic advice. The result of a collaboration by two of the eras most important writers, this book represents their attempt to direct womens acquisition and use of a dizzying variety of new household consumer goods available in the postCivil War economic boom. It updates Catharine Beechers influential Treatise on Domestic Economy (1841) and incorporates domestic writings by Harriet Beecher Stowe first published in The Atlantic in the 1860s.
Today, the book can be likened to an anthology of household hints, with articles on cooking, decorating, housekeeping, child-rearing, hygiene, gardening, etiquette, and home amusements. The American Womans Home, almost a bible on domestic topics for Victorian women, illuminates womens roles a century and a half ago and can be used for comparison with modern theories on the role of women in the home and in society. Illustrated with the original engravings, this completely new edition offers a lively introduction by Nicole Tonkovich and notes linking the text to important historical, social, and cultural events of the late nineteenth century
Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.
The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.
Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.
Beneath the surface of public-policy concerns that seem temporary are powerful evolutionary forces with long-term effects. One of the most important of these is the profound demographic change taking place in America-change which has extraordinary social and economic consequences, and far-reaching public-policy implications for the future of the nation.
James W. Hughes and Joseph J. Seneca have assembled experts on demography, immigration, policy, and family life to explain and document both changes and prospects for changes. Contributors profile the contours of demographic change in America and identify select public-policy challenges arising from this change. They cover a wide range of demographic shifts-"baby booms" and "baby busts," rising immigration, increasing ethnic and racial diversity, the proliferation of different household configurations, economic upward mobility that stems from the information-age rather than the industrial economy, and suburban and sunbelt gains.
2014 Choice Outstanding Academic Title
Amigas y Amantes (Friends and Lovers) explores the experiences of sexually nonconforming Latinas in the creation and maintenance of families. It is based on forty-two in-depth ethnographic interviews with women who identify as lesbian, bisexual, or queer (LBQ). Additionally, it draws from fourteen months of participant observation at LBQ Latina events that Katie L. Acosta conducted in 2007 and 2008 in a major northeast city. With this data, Acosta examines how LBQ Latinas manage loving relationships with the families who raised them, and with their partners, their children, and their friends.
Acosta investigates how sexually nonconforming Latinas negotiate cultural expectations, combat compulsory heterosexuality, and reconcile tensions with their families. She offers a new way of thinking about the emotion work involved in everyday lives, which highlights the informal, sometimes invisible, labor required in preserving family ties. Acosta contends that the work LBQ Latinas take on to preserve connections with biological families, lovers, and children results in a unique way of doing family.
Paying particular attention to the negotiations that LBQ Latinas undertake in an effort to maintain familial order, Amigas y Amantes explores how they understand femininity, how they negotiate their religious faiths, how they face the unique challenges of being in interracial/interethnic relationships, and how they raise their children while integrating their families of origin.
For decades, the work of one of America’s most influential poets, 1925 Pulitzer Prize–winner Amy Lowell (1874–1925), has been largely overlooked. This vigorous, courageous poet gave voice to an erotic, thoroughly American sensibility. Cigar-smoker, Boston Brahmin, lesbian, impresario, entrepreneur, and prolific poet, Lowell heralded the rush of an American poetic flowering. A best-selling poet as well as a wildly popular lecturer (autograph-seeking fans were sometimes so boisterous that she required a police escort), she was a respected authority on modern poetry, forging the path that led to the works of Allen Ginsberg, May Sarton, Sylvia Plath, and beyond. Yet, since her death, her work has suffered critical neglect.
This volume presents an essential revaluation of Lowell, and builds a solid critical basis for evaluating her poetry, criticism, politics, and influence. Essays explore the varied contributions of Lowell as a woman poet, a modernist, and a significant force of the literary debates of early twentieth-century poetics. In addition to placing Lowell in her proper historical context, contributors demonstrate her centrality to current critical and theoretical discussions: feminist, gay and lesbian, and postcolonial, in as well as in disability, American, and cultural studies. The book includes a transatlantic group of literary critics and scholars.
Amy Lowell, American Modern offers the most sustained examination of Lowell to date. It returns her to conversation and to literary history where she belongs.
The Animated Bestiary critically evaluates the depiction of animals in cartoons and animation more generally. Paul Wells argues that artists use animals to engage with issues that would be more difficult to address directly because of political, religious, or social taboos. Consequently, and principally through anthropomorphism, animation uses animals to play out a performance of gender, sex and sexuality, racial and national traits, and shifting identity, often challenging how we think about ourselves.
Wells draws on a wide range of examples, from the original King Kongto Nick Park's Chicken Run to Disney cartoonsùsuch as Tarzan, The Jungle Book, and Brother Bearùto reflect on people by looking at the ways in which they respond to animals in cartoons and films.
Long considered "children's entertainment" by audiences and popular media, Hollywood animation has received little serious attention. Eric Smoodin's Animating Culture is the first and only book to thoroughly analyze the animated short film.
Usually running about seven or eight minutes, cartoons were made by major Hollywood studios––such as MGM, Warner Bros., and Disney––and shown at movie theaters along with a newsreel and a feature-length film. Smoodin explores animated shorta and the system that mass-produced them. How were cartoons exhibited in theaters? How did they tell their stories? Who did they tell them to? What did they say about race, class, and gender? How were cartoons related to the feature films they accompanied on the evening's bill of fare? What were the social functions of cartoon stars like Donald Duck and Minnie Mouse?
Smoodin argues that cartoons appealed to a wide audience––not just children––and did indeed contribute to public debate about political matters. He examines issues often ignored in discussions of animated film––issues such as social control in the U.S. army's "Private Snafu" cartoons, and sexuality and race in the "sites" of Betty Boop's body and the cartoon harem. Smoodin's analysis of the multiple discourses embedded in a variety of cartoons reveals the complex and sometimes contradictory ways that animation dealt with class relations, labor, imperialism, and censorship. His discussion of Disney and the Disney Studio's close ties with the U.S. government forces us to rethink the place of the cartoon in political and cultural life. Smoodin reveals the complex relationship between cartoons and the Hollywood studio system, and between cartoons and their audiences.
Studies of Nazi persecution and destruction of Jews have to date largely been based on the accounts of men. And yet gender difference in Western society is so profound that women and men seem to have divergent experiences, speak different languages, and see and hear in dissimilar ways. Denise de Costa's book explores the significance of sex and gender differences in the construction of history and society-specifically, the Nazi genocide of Jews in World War II-by focusing on the writing of two Jewish women, Anne Frank and Etty Hillesum.
De Costa argues that although both of these writers have received much attention, little has been done to understand how the significant difference occasioned by both gender and Jewishness helps to define cultural or personal identity in relation to the Holocaust. De Costa uses a variety of psychoanalytic and feminist theories to approach the writing of Frank and Hillesum. Critiquing as well as employing the concepts of Julia Kristeva, Hélène Cixous, Luce Irigaray, and Simone de Beauvoir among others, she presents a detailed and rich discussion of each writer.
De Costa approaches Anne Frank largely from a psychoanalytical perspective that emphasizes the function of writing itself in the development of self-identity. For Etty Hillesum, she is more concerned with how writing establishes a philosophy, and a faith, that can entertain and is indeed based in doubleness and paradox. Her assessment of these two writers makes a significant contribution to our understanding of the Holocaust as a cultural and historical phenomenon, of the role of writing in the production and expression of gendered identity, and of the complex relation between women, writing, and culture.
An object maker, musician, poet, and performer, Willie Cole is an artist with remarkably diverse art-making skills and a formidable imagination. Best known for his assemblage, mixed media sculptural works, and prints, Cole liberates and aggrandizes everyday artifacts, including irons, ironing boards, hairdryers, high-heeled shoes, lawn jockeys, bicycle parts, and other discarded domestic appliances and hardware and transforms them into powerful and iconic art works.
The time-textured objects that he works with are seen by most as banal and expendable, but in Cole's hands they are given new vitality and metaphorical meaning. Frequently, he takes his found American consumer objects and Africanizes or ritualizes them, creating potent global artistic hybrids. His works also track his distinctive, Newark, New Jersey-based heritage, movingly melding the social, political, and cultural perspectives of urban African American experience.
Although wit and humor are often evident in his methods, Cole's readaptions of African tribal art motifs and forms are based more in respectful appreciation than appropriation and careful study rather than simple imitation. His works address a range of serious topics including race relations, capitalist materialism, religious belief systems, and human pathos.
Surveying the wide range of Cole's methods, media, and themes from the late 1980s to the present, this catalog includes thirty stunning color illustrations of his most significant sculptures, paintings, works on paper, and prints. An extensive interview with Cole by Dr. Leslie King-Hammond, Dean of the Maryland Institute of Art, as well as a commentary by Dr. Lowery Stokes Sims, President of the Studio Museum in Harlem, about Cole's pivotal residency there place this unique artist's work in the context of African American and contemporary art. The catalogue also includes biographical information in the form of two chronologies, one of which is a personal resum by the artist, as well as exhibition histories, bibliographies, and a listing of public collections of his work.
Winner of the 2001 New Jersey Historic Preservation Award | Commendation Award from the Bergen County Historic Preservation Advisory Board
Walk or drive through any of Bergen County's seventy communities and you will find telling reminders of a wonderfully rich and diverse architectural history--the legacy of three hundred years of settlement, growth, and change.
The Architecture of Bergen County, New Jersey presents an accessible overview of the county's architectural heritage and its historic structures. The volume explores the styles, trends, and events that influenced the design and setting of the region's buildings. More than 150 photos document Bergen County's architectural treasures, generating awareness and appreciation for these structures and their history.
The book is arranged chronologically, beginning with the arrival of European settlers in the seventeenth century and ending in the late twentieth century. Each chapter opens with a brief historical background and follows with a description and analysis of building types common to Bergen County for the period. Some structures, such as the Hermitage in Ho-Ho-Kus, the Vreeland House in Leonia, and the Bergen County Courthouse in Hackensack, are of regional, even national, significance.
The book also highlights delightful surprises. Examples include a large number of picturesque houses that were built from the designs published in mid-nineteenth century architectural pattern books, the home of an early African American newspaper publisher, and two homes in Paramus and Washington Township whose exterior walls are made of mud.
The Architecture of Bergen County, New Jersey demonstrates the close association between architectural development at the national and local levels, and shows how social, technological, and political changes occurring within the county have been reflected in the building types and styles of the area.
What binds together Jews of Israel and the United States? Amid the hope and frustration generated by the Middle East peace process, the meaning of Jewish statehood is more vigorously contested than ever before. A secular democratic Israel, responsive to Western liberal values, is prepared to make peace with the Palestinians by sacrificing its own historic homeland. But a covenantal Israel, which draws its Jewish identity from divine promise and the biblical narrative, refuses to surrender to modern imperatives. As the very nature of Jewish statehood has become ever more polarized, American Jewish life has been profoundly affected by this fateful Zionist contradiction.
In Are We One? Jerold S. Auerbach presents a surprising new interpretation of this contemporary Jewish dilemma. The modern Jewish impulse to embrace Western values, he writes, exacts a terrible price. He offers a critical reassessment of Zionism, a challenging analysis of the sources of the identification of American Jews with Israel—and a gloomy prognosis of the future of Jewish life, both in Israel and the United States.
In a ringing indictment that is sure to spark controversy, he states that the eagerness of secular Israelis to import American culture reflects their sweeping rejection of Jewish and Zionist values. Indeed, the diminishing number of Israelis who actually remain faithful to Jewish religious and historical imperatives are denigrated as fundamentalist zealots by Israeli and American Jews alike. Present-day Israel now exhibits such Jewish self-loathing, he states, that it has depleted its own ability to inspire world Jewry.
In a groundbreaking book that draws upon original historical analysis and extensive personal experience in Israel, Auerbach invites readers to consider the debilitating consequences of an adulterated Jewish identity in Israel and in the United States for the very future of Judaism.
This is a new translation, with introduction, commentary, and an explanatory glossary.
"Sachs's translation and commentary rescue Aristotle's text from the rigid, pedantic, and misleading versions that have until now obscured his thought. Thanks to Sachs's superb guidance, the Physics comes alive as a profound dialectical inquiry whose insights into the enduring questions about nature, cause, change, time, and the 'infinite' are still pertinent today. Using such guided studies in class has been exhilarating both for myself and my students." ––Leon R. Kass, The Committee on Social Thought, University of Chicago
Aristotle’s Physics is the only complete and coherent book we have from the ancient world in which a thinker of the first rank seeks to say something about nature as a whole. For centuries, Aristotle’s inquiry into the causes and conditions of motion and rest dominated science and philosophy. To understand the intellectual assumptions of a powerful world view—and the roots of the Scientific Revolution—reading Aristotle is critical. Yet existing translations of Aristotle’s Physics have made it difficult to understand either Aristotle’s originality or the lasting value of his work.
In this volume in the Masterworks of Discovery series, Joe Sachs provides a new plain-spoken English translation of all of Aristotle’s classic treatise and accompanies it with a long interpretive introduction, a running explication of the text, and a helpful glossary. He succeeds brilliantly in fulfilling the aim of this innovative series: to give the general reader the tools to read and understand a masterwork of scientific discovery.
In war films, the portrayal of deep friendships between men is commonplace. Given the sexually anxious nature of the American imagination, such bonds are often interpreted as carrying a homoerotic subtext. In Armed Forces , Robert Eberwein argues that an expanded conception of masculinity and sexuality is necessary in order to understand more fully the intricacy of these intense and emotional human relationships. Drawing on a range of examples from silent films such as What Price Glory and Wings to sound era works like The Deer Hunter, Platoon, Three Kings, and Pearl Harbor , he shows how close readings of war films, particularly in relation to their cultural contexts, demonstrate that depictions of heterosexual love, including those in romantic triangles, actually help to define and clarify the nonsexual nature of male love. The book also explores the problematic aspects of masculinity and sexuality when threatened by wounds, as in The Best Years of Our Lives, and considers the complex and persistent analogy between weapons and the male body, as in Full Metal Jacket and Saving Private Ryan .
Children have served as soldiers throughout history. They fought in the American Revolution, the Civil War, and in both world wars. They served as uniformed soldiers, camouflaged insurgents, and even suicide bombers. Indeed, the first U.S. soldier to be killed by hostile fire in the Afghanistan war was shot in ambush by a fourteen-year-old boy.
Does this mean that child soldiers are aggressors? Or are they victims? It is a difficult question with no obvious answer, yet in recent years the acceptable answer among humanitarian organizations and contemporary scholars has been resoundingly the latter. These children are most often seen as especially hideous examples of adult criminal exploitation.
In this provocative book, David M. Rosen argues that this response vastly oversimplifies the child soldier problem. Drawing on three dramatic examples-from Sierra Leone, Palestine, and Eastern Europe during the Holocaust-Rosen vividly illustrates this controversial view. In each case, he shows that children are not always passive victims, but often make the rational decision that not fighting is worse than fighting.
With a critical eye to international law, Armies of the Young urges readers to reconsider the situation of child combatants in light of circumstance and history before adopting uninformed child protectionist views. In the process, Rosen paints a memorable and unsettling picture of the role of children in international conflicts.
In 1949 and 1950, the Congress of Industrial Organizations (CIO) expelled many left-wing unions, representing 750,000 workers, because they were supposedly Communist-dominated. This collection of previously unpublished essays explores the history of those eleven left-led unions. Some essays consider specific aspects of several unions--the Longshoremen, the United Electricians (UE), the Fur Workers, and the Food and Tobacco Workers--while others take up the impact of the federal government's and the Catholic church's anticommunism upon the unions as a whole.
This collection also addresses central domestic issues of twentieth-century America: race and government policy in the shaping of trade unionism; the impact of anticommunism and the cold war on race relations and working conditions; and the short- and long-range impact of the expulsions upon the labor movement. With groundbreaking essays that also concern the post-World War II period, Southern workers and workers in non-basic industries, this book will appeal to students of radicalism, race relations, anticommunism, and labor history.
"Intellectually broad and carefully grounded in fundamental issues affecting the time, role, and place of the academy in society, this collection explores the ways in which art and tradition are either maintained or rearticulated late in the Victorian Era. Art and the Academy forges a distinctive new way to look at the broad range of academic creativity against a complex network of changing social patterns." -Gabriel P. Weisberg, department of art history, University of Minnesota
Throughout the nineteenth century, academies functioned as the main venues for the teaching, promotion, and display of art. Contemporary scholars have, for the most part, denigrated academic art, calling it formulaic, unoriginal, and repetitious. The contributors to Art and the Academy in the Nineteenth Century challenge this entrenched notion and consider how academies worldwide have represented an important system of artistic preservation and transmission. Their essays eschew easy binaries that have reigned in academia for over half a century and that simply oppose the avant-garde to academism.
The essayists uncover the institutional structures and artistic practices of academies in England, France, Germany, and Brazil. Investigating artistic protocols across national and cultural boundaries, the scholars examine the relationship between artistic training and cultural identity. Their essays provide new insights into the ways in which institutions of art helped shape the nineteenth century's view of itself as an age of civilization amidst the turmoil of rapid social and cultural change. With an engaging mix of works by leading scholars, Art and the Academy will be essential reading for anyone interested in the artistic, cultural, and social history of the nineteenth century.
Rafael Cardoso Denis is adjunct professor (visiting) at the Escola Superior de Desenho Industrial (Universidade do Estado do Rio de Janeiro). Colin Trodd is senior lecturer in art history at the University of Sunderland.
.
Fitzpatrick captures the emotions of artists and riders alike, as she explores paintings, photographs, performance art, graffiti, and public art by artists such as Walker Evans, Bruce Davidson, DONDI, Keith Haring, Yayoi Kusama, Jacob Lawrence, Reginald Marsh, Elizabeth Murray, and many others. She also considers representations of the subway in film, on song sheet covers, and in illustration. By examining the cultural, technological, and social contexts for these creative interpretations, Fitzpatrick illuminates in fresh ways the contradictions and harmonies between public and private space.
Featuring 17 color plates and 80 black-and-white images, Art and the Subway takes readers on a fascinating ride through the visual history of one of the twentieth century's greatest urban planning endeavors as it grew, changed form, and reinvented itself with passion and vitality.
“This important study is the first to confront head-on the avoidance of the visual that has plagued black studies in the United States. The Art of History opens the often hermetic world of black visual culture to a much broader realm in which questions central to contemporary feminism, black studies, and cultural theory are brought to bear.”—Judith Wilson, University of California, Irvine
“The Art of History is an important book that expands the significance of visual culture to African American studies debates. It provides cogent and insightful explorations of the work of contemporary African American women artists. Scholars and general readers alike are sure to be compelled by this original and innovative study.”—Valerie Smith, author of Not Just Race, Not Just Gender: Black Feminist Readings
In this lively and engaging book, Lisa Gail Collins examines the work of contemporary African American women artists. Her study comes at a time when an unprecedented number of these artists—photographers, filmmakers, painters, installation and mixed-media artists—have garnered the attention and imagination of the art-viewing public.
To better understand the significance of this particular historical moment in American visual arts, Collins focuses on four “problems” that recur when these artists confront their histories: the documentation of truth; the status of the black female body; the relationship between art and cultural contact and change; and the relationship between art and black girlhood. By examining the social and cultural histories which African American women artists engage, Collins illuminates a dialogue between past and present imagemakers.
The Art of History is a major contribution to the study of American visual culture. It will be of use to both scholars and students in art history, African American studies, American studies, and women’s studies.
Musical theater has captivated American audiences from its early roots in burlesque stage productions and minstrel shows to the million-dollar industry it has become on Broadway today. What is it about this truly indigenous American art form that has made it so enduringly popular? How has it survived, even thrived, alongside the technology of film and the glitz and glamour of Hollywood? Will it continue to evolve and leave its mark on the twenty-first century?
Bringing together exclusive and previously unpublished interviews with nineteen leading composers, lyricists, librettists, directors, choreographers, and producers from the mid-1900s to the present, this book details the careers of the individuals who shaped this popular performance art during its most prolific period. The interviewees discuss their roles in productions ranging from On the Town (1944) and Finian's Rainbow (1947) to The Producers (2001) and Bounce (2003).
Readers are taken onto the stage, into the rehearsals, and behind the scenes. The nuts and bolts, the alchemy, and the occasional agonies of the collaborative process are all explored. In their discussions, the artists detail their engagements with other creative forces, including such major talents as Leonard Bernstein, Jerome Robbins, Bob Fosse, Liza Minnelli, Judy Garland, Barbra Streisand, Jule Styne, Richard Rodgers and Oscar Hammerstein, Alan Jay Lerner, Zero Mostel, and Gwen Verdon. They speak candidly about their own work and that of their peers, their successes and failures, the creative process, and how a show progresses from its conception through rehearsals and tryouts to opening night.
Taken together, these interviews give fresh insight into what Oscar Hammerstein called "a nightly miracle"—the creation of the American musical.
Art of the Baltics is the first major survey of the development of modernist art in Estonia, Lithuania, and Latvia during the post-World War II Soviet period. The contributors discuss and reappraise the art of Baltic artists working in modernist styles. They argue that Estonian, Lithuanian, and Latvian art did not develop in similar ways. Estonia, for example, had closer contact with Scandinavian countries, while Lithuania clearly was part of Central Europe, and was more influenced by Poland.
This book contains nearly three hundred illustrations—many in color—that serve to visually compare the art of the three Baltic countries. It also has three useful historical timelines that contextualize the art presented. In addition to historical overviews of each country, Art of theBaltics contains essays on the art of the region, written by both Baltic and American scholars. The articles extensively cover the Baltic art of the 1960s through the 1980s, which reflect the Zimmerli Art Museum’s holdings of the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. To round out the scope of this work, contributors also discuss the pre-Soviet art of the region, as well as the recent creative developments that resulted from these small countries gaining independence in 1991.
In Artifacts of Loss, Jane E. Dusselier looks at the lives of these internees through the lens of their art. These camp-made creations included flowers made with tissue paper and shells, wood carvings of pets left behind, furniture made from discarded apple crates, gardens grown next to their housingùanything to help alleviate the visual deprivation and isolation caused by their circumstances. Their crafts were also central in sustaining, re-forming, and inspiring new relationships. Creating, exhibiting, consuming, living with, and thinking about art became embedded in the everyday patterns of camp life and helped provide internees with sustenance for mental, emotional, and psychic survival.
Dusselier urges her readers to consider these often overlooked folk crafts as meaningful political statements which are significant as material forms of protest and as representations of loss. She concludes briefly with a discussion of other displaced people around the globe today and the ways in which personal and group identity is reflected in similar creative ways.
Part ethnography and part historical study, The Artificial Ear is based on interviews with researchers who were pivotal in the early development and implementation of the new technology. Through an analysis of the scientific and clinical literature, Stuart Blume reconstructs the history of artificial hearing from its conceptual origins in the 1930s, to the first attempt at cochlear implantation in Paris in the 1950s, and to the widespread clinical application of the "bionic ear" since the 1980s.
For much of the industrial era, asbestos was a widely acclaimed benchmark material. During its heyday, it was manufactured into nearly three thousand different products, most of which protected life and property from heat, flame, and electricity. It was used in virtually every industry from hotel keeping to military technology to chemical manufacturing, and was integral to building construction from shacks to skyscrapers in every community across the United States. Beginning in the mid-1960s, however, this once popular mineral began a rapid fall from grace as growing attention to the serious health risks associated with it began to overshadow the protections and benefits it provided.
In this thought-provoking and controversial book, Rachel Maines challenges the recent vilification of asbestos by providing a historical perspective on Americans’ changing perceptions about risk. She suggests that the very success of asbestos and other fire-prevention technologies in containing deadly blazes has led to a sort of historical amnesia about the very risks they were supposed to reduce.
Asbestos and Fire is not only the most thoroughly researched and balanced look at the history of asbestos, it is also an important contribution to a larger debate that considers how the risks of technological solutions should be evaluated. As technology offers us ever-increasing opportunities to protect and prevent, Maines urges that learning to accept and effectively address the unintended consequences of technological innovations is a growing part of our collective responsibility.
For much of the industrial era, asbestos was a widely acclaimed benchmark material. During its heyday, it was manufactured into nearly three thousand different products, most of which protected life and property from heat, flame, and electricity. It was used in virtually every industry from hotel keeping to military technology to chemical manufacturing, and was integral to building construction from shacks to skyscrapers in every community across the United States. Beginning in the mid-1960s, however, this once popular mineral began a rapid fall from grace as growing attention to the serious health risks associated with it began to overshadow the protections and benefits it provided.
In this thought-provoking and controversial book, Rachel Maines challenges the recent vilification of asbestos by providing a historical perspective on Americans’ changing perceptions about risk. She suggests that the very success of asbestos and other fire-prevention technologies in containing deadly blazes has led to a sort of historical amnesia about the very risks they were supposed to reduce.
Asbestos and Fire is not only the most thoroughly researched and balanced look at the history of asbestos, it is also an important contribution to a larger debate that considers how the risks of technological solutions should be evaluated. As technology offers us ever-increasing opportunities to protect and prevent, Maines urges that learning to accept and effectively address the unintended consequences of technological innovations is a growing part of our collective responsibility.
Asian America is the first comprehensive look at post-1960s Asian American communities in the United States and Canada. From Chinese Americans in Chicagoland to Vietnamese Americans in Orange County, this multi-disciplinary collection spans a wide comparative and panoramic scope. Contributors from an array of academic fields focus on global views of Asian American communities as well as on territorial and cultural boundaries.
Presenting groundbreaking perspectives, Asian America revises worn assumptions and examines current challenges Asian American communities face in the twenty-first century.
Jean Yu-wen Shen Wu and Thomas C. Chen have selected essays for the significance of their contribution to the field and their clarity, brevity, and accessibility to readers with little to no prior knowledge of Asian American studies. Featuring both reprints of seminal articles and groundbreaking texts, as well as bold new scholarship, Asian American Studies Now addresses the new circumstances, new communities, and new concerns that are reconstituting Asian America.
For Lanclos, children's experiences stimulate discussions about culture and society. In her words, "Children's everyday lives are more than just preparation for their futures, but are life itself."
At Play in Belfast is a volume in the Rutgers Series in Childhood Studies, edited by Myra Bluebond-Langner.
Denounced by some as a dangerous cult and lauded by others as a miraculous faith community, the International Churches of Christ was a conservative evangelical Christian movement that grew rapidly in the 1980s and 1990s.
Among its followers, promises to heal family relationships were central to the group's appeal. Members credit the church for helping them develop so-called "awesome families"-successful marriages and satisfying relationships with children, family of origin, and new church "brothers and sisters." The church engaged an elaborate array of services, including round-the-clock counseling, childcare, and Christian dating networks-all of which were said to lead to fulfilling relationships and exciting sex lives. Before the unified movement's demise in 2003-2004, the lure of blissful family-life led more than 100,000 individuals worldwide to be baptized into the church.
In Awesome Families, Kathleen Jenkins draws on four years of ethnographic research to explain how and why so many individuals-primarily from middle- to upper-middle-class backgrounds-were attracted to this religious group that was founded on principles of enforced community, explicit authoritative relationships, and therapeutic ideals. Weaving classical and contemporary social theory, she argues that members were commonly attracted to the structure and practice of family relationships advocated by the church, especially in the context of contemporary society where gender roles and family responsibilities are often ambiguous.
Tracing the rise and fall of this fast-growing religious movement, this timely study adds to our understanding of modern society and offers insight to the difficulties that revivalist movements have in sustaining growth.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press