BiblioVault - Books about 1895-1979

The Gospel of the Working Class

Labor's Southern Prophets in New Deal America

Erik S. Gellman and Jarod Roll

University of Illinois Press, 2011

In this exceptional dual biography and cultural history, Erik S. Gellman and Jarod Roll trace the influence of two southern activist preachers, one black and one white, who used their ministry to organize the working class in the 1930s and 1940s across lines of gender, race, and geography. Owen Whitfield and Claude Williams, along with their wives Zella Whitfield and Joyce Williams, drew on their bedrock religious beliefs to stir ordinary men and women to demand social and economic justice in the eras of the Great Depression, New Deal, and Second World War.

Williams and Whitfield preached a working-class gospel rooted in the American creed that hard, productive work entitled people to a decent standard of living. Gellman and Roll detail how the two preachers galvanized thousands of farm and industrial workers for the Southern Tenant Farmers Union and the Congress of Industrial Organizations. They also link the activism of the 1930s and 1940s to that of the 1960s and emphasize the central role of the ministers' wives, with whom they established the People's Institute for Applied Religion.

This detailed narrative illuminates a cast of characters who became the two couples' closest allies in coordinating a complex network of activists that transcended Jim Crow racial divisions, blurring conventional categories and boundaries to help black and white workers make better lives. In chronicling the shifting contexts of the actions of Whitfield and Williams, The Gospel of the Working Class situates Christian theology within the struggles of some of America's most downtrodden workers, transforming the dominant narratives of the era and offering a fresh view of the promise and instability of religion and civil rights unionism.

[more]

The Pseudoscience Wars

Immanuel Velikovsky and the Birth of the Modern Fringe

Michael D. Gordin

University of Chicago Press, 2012

Properly analyzed, the collective mythological and religious writings of humanity reveal that around 1500 BC, a comet swept perilously close to Earth, triggering widespread natural disasters and threatening the destruction of all life before settling into solar orbit as Venus, our nearest planetary neighbor.

Sound implausible? Well, from 1950 until the late 1970s, a huge number of people begged to differ, as they devoured Immanuel Velikovsky’s major best-seller, Worlds in Collision, insisting that perhaps this polymathic thinker held the key to a new science and a new history. Scientists, on the other hand, assaulted Velikovsky’s book, his followers, and his press mercilessly from the get-go. In The Pseudoscience Wars, Michael D. Gordin resurrects the largely forgotten figure of Velikovsky and uses his strange career and surprisingly influential writings to explore the changing definitions of the line that separates legitimate scientific inquiry from what is deemed bunk, and to show how vital this question remains to us today. Drawing on a wealth of previously unpublished material from Velikovsky’s personal archives, Gordin presents a behind-the-scenes history of the writer’s career, from his initial burst of success through his growing influence on the counterculture, heated public battles with such luminaries as Carl Sagan, and eventual eclipse. Along the way, he offers fascinating glimpses into the histories and effects of other fringe doctrines, including creationism, Lysenkoism, parapsychology, and more—all of which have surprising connections to Velikovsky’s theories.

Science today is hardly universally secure, and scientists seem themselves beset by critics, denialists, and those they label “pseudoscientists”—as seen all too clearly in battles over evolution and climate change. The Pseudoscience Wars simultaneously reveals the surprising Cold War roots of our contemporary dilemma and points readers to a different approach to drawing the line between knowledge and nonsense.

[more]

Transmedial Landscapes and Modern Chinese Painting

Juliane Noth

Harvard University Press, 2022

Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.

Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.

[more]

Transmedial Landscapes and Modern Chinese Painting

Juliane Noth

Harvard University Press, 2022

Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.

Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.

[more]

Tribal Secrets

Recovering American Indian Intellectual Traditions

Robert Allen Warrior

University of Minnesota Press, 1994