Contemporary Arab Thought is a complex term, encompassing a constellation of social, political, religious and ideological ideas that have evolved over the past two hundred years — ideas that represent the leading positions of the social classes in modern and contemporary Arab societies.
Distinguished Islamic scholar Ibrahim Abu-Rabi‘ addresses such questions as the Shari‘ah, human rights, civil society, secularism and globalization. This is complimented by a focused discussion on the writings of key Arab thinkers who represent established trends of thought in the Arab world, including Muhammad ‘Abid al-Jabiri, Adallah Laroui, Muhammad al-Ghazali, Rashid al-Ghannoushi, Qutatnine Zurayk, Mahdi ‘Amil and many others.
Before 1967, some Arab countries launched hopeful programmes of modernisation. After the 1967 defeat with Israel, many of these hopes were dashed. This book retraces the Arab world’s aborted modernity of recent decades. Abu-Rabi‘ explores the development of contemporary Arab thought against the historical background of the rise of modern Islamism, and the impact of the West on the modern Arab world.
From its inception in the 1960s to its present form, contemporary Mexican American or Chicano art has developed as an art of identity, asserting the uniqueness of Chicanos and their dual Mexican and U.S. American cultural backgrounds. Because it emerged as a social phenomenon, however, many people outside the Chicano community have perceived Chicano art as merely protest art or social commentary, and Mexican American artists have been largely ignored in mainstream museums and absent in art history texts on American art. Yet more than ever before, Chicano art is diverse in medium, style, technique, and content—the cutting edge of a bold attempt to redefine and advance the American experience through new ideas of who we are as Americans and what American art is.
Contemporary Chican@ Art is a general introduction and guide to one of the most exciting and meaningful expressions in contemporary American art. Intended for the casual reader as well as for art history scholars and students, the book provides an overview of work created from the 1960s to the present. George Vargas follows the dramatic evolution of Chicano art within the broader context of American cultural history. He shows that while identity politics was and still is a prevailing force in Chicano expression, Chicano art has undergone a remarkable transformation, shifting from a strict Chicano perspective to a more universal one, while still remaining a people's art. In the concluding chapter, Vargas takes an in-depth look at selected Chicano artists who share their thoughts about the Chicano artistic enterprise and their own work.
Publication of the Museum of Modern Art
In Contemporary Irish Poetry and the Pastoral Tradition, Donna L. Potts closely examines the pastoral genre in the work of six Irish poets writing today. Through the exploration of the poets and their works, she reveals the wide range of purposes that pastoral has served in both Northern Ireland and the Republic: a postcolonial critique of British imperialism; a response to modernity, industrialization, and globalization; a way of uncovering political and social repercussions of gendered representations of Ireland; and, more recently, a means for conveying environmentalism’s more complex understanding of the value of nature.
In an important distinction from other studies of Irish poetry, Potts moves beyond the influence of history and politics on contemporary Irish pastoral poetry to consider the relatively recent influence of ecology. Contemporary Irish poets often rely on the motif of the pastoral retreat to highlight various environmental threats to those retreats—whether they be high-rises, motorways, global warming, or acid rain. Potts concludes by speculating on the future of pastoral in contemporary Irish poetry through her examination of more recent poets—including Moya Cannon and Paula Meehan—as well as other genres such as film, drama, and fiction.
In Contemporary Latina/o Theater, Jon D. Rossini explores the complex relationship between theater and the creation of ethnicity in an unprecedented examination of six Latina/o playwrights and their works: Miguel Piñero, Luis Valdez, Guillermo Reyes, Octavio Solis, José Rivera, and Cherríe Moraga. Rossini exposes how these writers use the genre as a tool to reveal and transform existing preconceptions about their culture. Through “wrighting”—the triplicate process of writing plays, righting misconceptions about ethnic identity, and creating an entirely new way of understanding Latina/o culture—these playwrights directly intervene in current conversations regarding ethnic identity, providing the tools for audiences to reexplore their previously held perspectives outside the theater.
Examining these writers and their works in both cultural and historical contexts, Rossini reveals how playwrights use the liminal space of the stage—an area on the thresholds of both theory and reality—to “wright” new insights into Latina/o identity. They use the limits of the theater itself to offer practical explorations of issues that could otherwise be discussed only in highly theoretical terms.
Rossini traces playwrights’ methods as they address some of the most challenging issues facing contemporary Latinas/os in America: from the struggles for ethnic solidarity and the dangers of a community based in fear, to stereotypes of Latino masculinity and the problematic fusion of ethnicity and politics. Rossini discusses the looming specter of the border in theater, both as a conceptual device and as a literal reality—a crucial subject for modern Latinas/os, given recent legislation and other actions. Throughout, the author draws intriguing comparisons to the cultural limbo in which many Latinas/os find themselves today.
An indispensable volume for anyone interested in drama and ethnic studies, Contemporary Latina/o Theater underscores the power of theatricality in exploring and rethinking ethnicity. Rossini provides the most in-depth analysis of these plays to date, offering a groundbreaking look at the ability of playwrights to correct misconceptions and create fresh perspectives on diversity, culture, and identity in Latina/o America.
This volume collects some of the best short fiction from the six Spanish-speaking countries of Central America—Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Panama. Selected from stories written between 1963 and 1988, it is a broad representation of active Central American writers.
Many of the stories are quite sophisticated and utilize elements of the absurd or techniques of magical realism. Some stories deal with war—the unending struggle against dictators and military power that engrosses Central Americans. Others explore the realm of the writer's imagination. Some of the writers included are Augusto Monterroso (Guatemala), Carmen Naranjo and Samuel Rovinski (Costa Rica), Rosa María Britton and Jaime García Saucedo (Panama), and Alfonso Quijada Urías (El Salvador).
From the dramatization of local legends to the staging of plays by Shakespeare and other canonical playwrights to the exploration of contemporary sociopolitical problems and their effects on women and children, Mayan theatre is a flourishing cultural institution in southern Mexico. Part of a larger movement to define Mayan self-identity and reclaim a Mayan cultural heritage, theatre in Mayan languages has both reflected on and contributed to a growing awareness of Mayans as contemporary cultural and political players in Mexico and on the world's stage.
In this book, Tamara Underiner draws on fieldwork with theatre groups in Chiapas, Tabasco, and Yucatán to observe the Maya peoples in the process of defining themselves through theatrical performance. She looks at the activities of four theatre groups or networks, focusing on their operating strategies and on close analyses of selected dramatic texts. She shows that while each group works under the rubric of Mayan or indigenous theatre, their works are also in constant dialogue, confrontation, and collaboration with the wider, non-Mayan world. Her observations thus reveal not only how theatre is an agent of cultural self-definition and community-building but also how theatre negotiates complex relations among indigenous communities in Mayan Mexico, state governments, and non-Mayan artists and researchers.
In the years following the Mexican Revolution, a nationalist and masculinist image of Mexico emerged through the novels of the Revolution, the murals of Diego Rivera, and the movies of Golden Age cinema. Challenging this image were the Contemporáneos, a group of writers whose status as outsiders (sophisticated urbanites, gay men, women) gave them not just a different perspective, but a different gaze, a new way of viewing the diverse Mexicos that exist within Mexican society. In this book, Salvador Oropesa offers original readings of the works of five Contemporáneos—Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Guadalupe Marín, and Jorge Cuesta—and their efforts to create a Mexican literature that was international, attuned to the realities of modern Mexico, and flexible enough to speak to the masses as well as the elites.
Oropesa discusses Novo and Villaurrutia in relation to neo-baroque literature and satiric poetry, showing how these inherently subversive genres provided the means of expressing difference and otherness that they needed as gay men. He explores the theatrical works of Lazo, Villaurrutia's partner, who offered new representations of the closet and of Mexican history from an emerging middle-class viewpoint. Oropesa also looks at women's participation in the Contemporáneos through Guadalupe Marín, the sometime wife of Diego Rivera and Jorge Cuesta, whose novels present women's struggles to have a view and a voice of their own. He concludes the book with Novo's self-transformation from intellectual into celebrity, which fulfilled the Contemporáneos' desire to merge high and popular culture and create a space where those on the margins could move to the center.
In a dazzling new interpretation of four hundred years of modern French history, Charles Tilly focuses not on kings and courtiers but on the common people of village and farm buffeted by the inexorable advance of large-scale capitalism and the consolidation of a powerful nation-state. Tilly, author of The Vendée and many other books, chooses the contention of the masses as his medium in painting this vivid picture of the people's growing ability and willingness to fight injustice, challenge exploitation, and claim their own place in the hierarchy of power.
Contention is not necessarily disorder. The more we look at contention, says Tilly, the more we discover order created by the rooting of collective action in everyday social life through a continuous process of signaling, negotiation, and struggle. In seventeenth-century France, ordinary people did not know how to demonstrate, rally, or strike, but they had standard procedures for expelling a tax collector, undermining a corrupt official, and shaming moral offenders. By the end of the eighteenth century, French people were experimenting with delegations, public meetings, and popular justice. Through the nineteenth century, with the growth of an industrial proletariat, they developed an extensive repertoire of strikes, demonstrations, and direct attacks on landlords and capitalists, as well as conflicts setting worker against worker. In the twentieth century, scenarios of protest expanded to even larger-scale forms such as mass meetings, electoral campaigns, and broad-based social movements.
Rather than arguing these developments in the abstract, The Contentious French provides lively descriptions of real events, with pauses to make sense of their patterns. The result is a view of politics with the common struggle for power at its core and the changing structure of power as its envelope.
The Contentious French is bound to be controversial, and therefore required reading for specialists in European history, social movements, and collective action. Its fresh approach will also appeal to students and general readers.
A new history shows how FDR developed a vision of national security focused not just on protecting Americans against physical attack but also on ensuring their economic well-being—and how the nascent conservative movement won the battle to narrow its meaning, durably reshaping US politics.
Americans take for granted that national security comprises physical defense against attacks. But the concept of national security once meant something more. Franklin Roosevelt’s vision for national security, Peter Roady argues, promised an alternate path for the United States by devoting as much attention to economic want as to foreign threats. The Contest over National Security shows how a burgeoning conservative movement and power-hungry foreign policy establishment together defeated FDR’s plans for a comprehensive national security state and inaugurated the narrower approach to national security that has dominated ever since.
In the 1930s, Roosevelt and his advisors, hoping to save the United States from fascism and communism, argued that national security entailed protection from both physical attack and economic want. Roosevelt’s opponents responded by promoting a more limited national security state privileging military defense over domestic economic policy. Conservatives brought numerous concerns to bear through an enormous public relations offensive, asserting not just that Roosevelt’s plans threatened individual freedom but also that the government was less competent than the private sector and incapable of delivering economic security.
This contest to define the government’s national security responsibilities in law and in the public mind, Roady reveals, explains why the United States developed separate and imbalanced national security and welfare states, with far-reaching consequences. By recovering FDR’s forgotten vision, Roady restores a more expansive understanding of national security’s meanings as Americans today face the great challenges of their times.
In the 1960s University of Cincinnati radiologist Eugene Saenger infamously conducted human experiments on patients with advanced cancer to examine how total body radiation could treat the disease. But, under contract with the Department of Defense, Saenger also used those same patients as proxies for soldiers to answer questions about combat effectiveness on a nuclear battlefield.
Using the Saenger case as a means to reconsider cold war medical trials, Contested Medicine examines the inherent tensions at the heart of clinical studies of the time. Emphasizing the deeply intertwined and mutually supportive relationship between cancer therapy with radiation and military medicine, Gerald Kutcher explores post–World War II cancer trials, the efforts of the government to manage clinical ethics, and the important role of military investigations in the development of an effective treatment for childhood leukemia. Whereas most histories of human experimentation judge research such as Saenger’s against idealized practices, Contested Medicine eschews such an approach and considers why Saenger’s peers and later critics had so much difficulty reaching an unambiguous ethical assessment. Kutcher’s engaging investigation offers an approach to clinical ethics and research imperatives that lays bare many of the conflicts and tensions of the postwar period.
Why have so many contemporary poets turned to source material, from newspapers to governmental records, as inspiration for their poetry? How can citational poems offer a means of social engagement? Contested Records analyzes how some of the most well-known twenty-first century North American poets work with fraught documents. Whether it’s the legal paperwork detailing the murder of 132 African captives, state transcriptions of the last words of death row inmates, or testimony from miners and rescue workers about a fatal mine disaster, author Michael Leong reveals that much of the power of contemporary poetry rests in its potential to select, adapt, evaluate, and extend public documentation.
Examining the use of documents in the works of Kenneth Goldsmith, Vanessa Place, Amiri Baraka, Claudia Rankine, M. NourbeSe Philip, and others, Leong reveals how official records can evoke a wide range of emotions—from hatred to veneration, from indifference to empathy, from desire to disgust. He looks at techniques such as collage, plagiarism, re-reporting, and textual outsourcing, and evaluates some of the most loved—and reviled—contemporary North American poems. Ultimately, Leong finds that if bureaucracy and documentation have the power to police and traumatize through the exercise of state power, then so, too, can document-based poetry function as an unofficial, counterhegemonic, and popular practice that authenticates marginalized experiences at the fringes of our cultural memory.
This selection of articles by Lewis E. Hahn addresses the philosophical school of contextualism and four contemporary American philosophers: John Dewey, Henry Nelson Wieman, Stephen C. Pepper, and Brand Blanshard.
Stressing the relatively recent contextualistic worldview, which he considers one of the best world hypotheses, Hahn seeks to achieve a broad perspective within which all things may be given their due place. After providing a brief outline, Hahn explains contextualism in relation to other philosophies. In his opening chapter, as in later chapters, he expresses contextualism as a form of pragmatic naturalism. In spite of Hahn’s high regard for contextualism, however, he does not think it would be good if we were limited to a single worldview. “The more different views we have and the more different sources of possible light we have, the better our chances that some of these cosmic maps will shed light on our world and our place in it.”
Cultural Revolution Culture, often denigrated as nothing but propaganda, was liked not only in its heyday but continues to be enjoyed today. A Continuous Revolution sets out to explain its legacy. By considering Cultural Revolution propaganda art—music, stage works, prints and posters, comics, and literature—from the point of view of its longue durée, Barbara Mittler suggests it was able to build on a tradition of earlier art works, and this allowed for its sedimentation in cultural memory and its proliferation in contemporary China.
Taking the aesthetic experience of the Cultural Revolution (1966–1976) as her base, Mittler juxtaposes close readings and analyses of cultural products from the period with impressions given in a series of personal interviews conducted in the early 2000s with Chinese from diverse class and generational backgrounds. By including much testimony from these original voices, Mittler illustrates the extremely multifaceted and contradictory nature of the Cultural Revolution, both in terms of artistic production and of its cultural experience.
Debra Sabia describes and analyzes the rise, growth, and fragmentation of the popular church and assesses the effect of the Christian base communities on religion, politics, and the nation's social revolutionary experiment.
An unprecedented study of how Christianity reshaped Black South Africans’ ideas about gender, sexuality, marriage, and family during the first half of the twentieth century.
This book demonstrates that the primary affective force in the construction of modern Black intimate life in early twentieth-century South Africa was not the commonly cited influx of migrant workers but rather the spread of Christianity. During the late nineteenth and early twentieth centuries, African converts developed a new conception of intimate life, one that shaped ideas about sexuality, gender roles, and morality.
Although the reshaping of Black intimacy occurred first among educated Africans who aspired to middle-class status, by the 1950s it included all Black Christians—60 percent of the Black South African population. In turn, certain Black traditions and customs were central to the acceptance of sexual modernity, which gained traction because it included practices such as lobola, in which a bridegroom demonstrates his gratitude by transferring property to his bride’s family. While the ways of understanding intimacy that Christianity informed enjoyed broad appeal because they partially aligned with traditional ways, other individuals were drawn to how the new ideas broke with tradition. In either case, Natasha Erlank argues that what Black South Africans regard today as tradition has been unequivocally altered by Christianity.
In asserting the paramount influence of Christianity on unfolding ideas about family, gender, and marriage in Black South Africa, Erlank challenges social historians who have attributed the key factor to be the migrant labor system. Erlank draws from a wide range of sources, including popular Black literature and the Black press, African church and mission archives, and records of the South African law courts, which she argues have been underutilized in histories of South Africa. The book is sure to attract historians and other scholars interested in the history of African Christianity, African families, sexuality, and the social history of law, especially colonial law.
The Writers: Vasily Aksyonov, Joseph Brodsky, Igor Chinnov, Natalya Goranevskaya, Frifrikh Gorensetin, Roman Goul, Yury Ivask, Boris Khazanov, Edward Liminov, Vladimir Makisimov, Andrei Siniavsky and Maria Rozanova, Sasha Sokolov, Vladimir Voinovich, Aleksandr Zinoviev
Excerpt
John Glad: You're a Russian poet but an American essayist. Does that bring on any measure of split personality? Do you think you are becoming less and less Russian?
Joseph Brodsky (recipient of 1987 Nobel Prize for Literature): That's not for me to say. As far as I'm concerned, in my inner self, inside, it feels quite natural. I think being a Russian poet and an American essayist is an ideal situation. It's all a matter of whether you have (a) the heart and (b) the brains to be able to do both. Sometimes I think I do. Sometimes I think I don't. Sometimes I think that one interferes with the other.
Readers of fine novels cherish the opportunity to hear their favorite novelists speak directly, without commentary or interpretation, about how their lives and concerns drive their fiction writing. For twenty years The Missouri Review has brought these readers some of the most compelling and thought- provoking literary interviews in print. In this collection of fifteen in-depth interviews with contemporary novelists, the authors discuss the style and themes of their work, their writing habits, their cultural and social backgrounds, and larger aesthetic issues with refreshing insight about themselves and their art.
Originally conducted for the American Audio Prose Library, the interviews were then edited for publication in The Missouri Review. Here they are reproduced with an introduction and with a brief biographical and bibliographical headnote for each writer. These candid interviews with some of our favorite novelists are sure to delight all readers.
Authors Interviewed in This Volume:Robert Stone
Jamaica Kincaid
Jim Harrison
Tom McGuane
Louise Erdrich and Michael Dorris
John Edgar Wideman
Robb Forman Dew
Rosellen Brown
Peter Matthiessen
Scott Turow
Margaret Walker
Linda Hogan
Robert Olen Butler
Jessica Hagedorn
Larry Brown
This revised edition has been updated to cover Allende's three newest books—City of the Beasts, Portrait in Sepia: A Novel, and Daughter of Fortune. It includes four new interviews in which Allende discusses completing her trilogy of novels that began with House of the Spirits, as well as her ongoing spiritual adventure and political interests.
Larry McMurtry declares, "Texas itself doesn't have anything to do with why I write. It never did." Horton Foote, on the other hand, says, "I've just never had a desire to write about any place else." In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents.
The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers' League of Texas and other authors' organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers' work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices.
A sampling from the book:
"This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me." —John Graves
"Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived." —Naomi Shihab Nye
"I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves." —Larry McMurtry
"I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read." —Elmer Kelton
In the most wide-ranging history of phenomenology since Herbert Spiegelberg’s The Phenomenological Movement over fifty years ago, Baring uncovers a new and unexpected force—Catholic intellectuals—behind the growth of phenomenology in the early twentieth century, and makes the case for the movement’s catalytic intellectual and social impact.
Of all modern schools of thought, phenomenology has the strongest claim to the mantle of “continental” philosophy. In the first half of the twentieth century, phenomenology expanded from a few German towns into a movement spanning Europe. Edward Baring shows that credit for this prodigious growth goes to a surprising group of early enthusiasts: Catholic intellectuals. Placing phenomenology in historical context, Baring reveals the enduring influence of Catholicism in twentieth-century intellectual thought.
Converts to the Real argues that Catholic scholars allied with phenomenology because they thought it mapped a path out of modern idealism—which they associated with Protestantism and secularization—and back to Catholic metaphysics. Seeing in this unfulfilled promise a bridge to Europe’s secular academy, Catholics set to work extending phenomenology’s reach, writing many of the first phenomenological publications in languages other than German and organizing the first international conferences on phenomenology. The Church even helped rescue Edmund Husserl’s papers from Nazi Germany in 1938. But phenomenology proved to be an unreliable ally, and in debates over its meaning and development, Catholic intellectuals contemplated the ways it might threaten the faith. As a result, Catholics showed that phenomenology could be useful for secular projects, and encouraged its adoption by the philosophical establishment in countries across Europe and beyond.
Baring traces the resonances of these Catholic debates in postwar Europe. From existentialism, through the phenomenology of Paul Ricoeur and Maurice Merleau-Ponty, to the speculative realism of the present, European thought bears the mark of Catholicism, the original continental philosophy.
In a stunning combination of scholarship and storytelling, the award-winning anthropologist Richard Price draws on long-term ethnography, archival documents, cinema and street theater, and Caribbean fiction and poetry to explore how one generation’s powerful historical metaphors could so quickly become the next generation’s trivial pursuit, how memories of oppression, inequality, and struggle could so easily become replaced by nostalgia, complicity, and celebration.
“A superb callaloo of a book. . . . Richard Price has a remarkable grasp of the literatures of the Caribbean, and draws on this resource to explore the underlying insanity of the colonial experience, as well as the bewildering complexities of the postcolonial world where memory is erased or invented according to the demands of a market modernity.”—George Lamming, author of The Pleasures of Exile
“By beautifully crafting elements as disparate as biographical data, sociological studies, literary sources, and archival documents, Richard Price’s research is more fascinating than a piece of fiction.”—Maryse Condé, author of I, Tituba, Black Witch of Salem
“Price does it again. Mixing eras, genres, and voices, he carries the reader through the contradictory streams of historical consciousness in the Caribbean island of Martinique. The result is as complex and as enticing as the sea it evokes.”—Michel-Rolph Trouillot, author of Silencing the Past
“Filled with insights that are at once theoretical, methodological, and ethnographic, The Convict and the Colonel is required reading for anyone interested in colonialism, memory, and contemporary Caribbean societies.”—Jennifer Cole, American Ethnologist
Explores literary theory’s fear of and fascination with the mechanical.
Anxieties about fixing the absolute difference between the human being and the mechanical replica, the automaton, are as old as the first appearance of the machine itself. Exploring these anxieties and the efforts they prompted, this book opens a window on one of the most significant, if subtle, ideological battles waged on behalf of the human against the machine since the Enlightenment—one that continues in the wake of technological and conceptual progress today.
A sustained examination of the automaton as early modern machine and as a curious ancestor of the twentieth-century robot, Copying Machines offers extended readings of mechanistic images in the eighteenth century through the prism of twentieth-century commentary. In readings of texts by Lafayette, Molière, Laclos, and La Bruyère—and in a chapter on the eighteenth-century inventor of automatons, Jacques Vaucanson—Catherine Liu provides a fascinating account of ways in which the automaton and the preindustrial machine haunt the imagination of ancien régime France and structure key moments of the canonical literature and criticism of the period.Cornerstone of the Nation is the first historical account of the complex alliance of military and civilian forces that catapulted South Korea’s conjoined militarization and industrialization under Park Chung Hee (1961–1979). Kwon reveals how Park’s secret program to build an independent defense industry spurred a total mobilization of business, science, labor, and citizenry, all of which converged in military-civilian forces that propelled an unprecedented model of modernization in Korea.
Drawing on largely untapped declassified materials from Korea and personal interviews with contemporaneous participants in the nascent defense industry, as well as declassified US documents and other external sources, Kwon weaves together oral histories and documentary evidence in an empirically rich narrative that details how militarization shaped the nation’s rapid economic, technological, political, and social transformation. Cornerstone of the Nation makes the case that South Korea’s arms development under Park may be the most durable and yet least acknowledged factor behind the country’s rise to economic prominence in the late twentieth century. Through an analysis that simultaneously engages some of the most contested issues in Korean historiography, development literature, contemporary politics, and military affairs, this book traces Korea’s distinct pathway to becoming a global economic force.
The du Ponts, one of the most powerful families in American industry, actively fought the policies that gave government more and more power over the economy. It was not centralization they opposed—indeed, the New Deal initially gained their favor because it appeared to promise a “corporate state” administered along the same lines as a business organization—but the sharing, or brokering, of power among various political interests. If government was to direct the economy, they felt, it should be in the hands of proven business leaders such as themselves.
The du Pont brothers and their close colleague, John Raskob, first tried their hand at political action by waging a campaign against prohibition, which they said intruded upon the liberty of all citizens, raised taxes, and hampered the economy. It was this issue, and the management of public schools, that prompted the industrialists to propose business-style administrative bodies in government. To further this goal the du Ponts became increasingly active in the Democratic Party, especially the presidential campaigns from 1928 to 1940.
With the repeal of prohibition and the creation of the National Recovery Administration, the New Deal at first looked promising to the du Ponts. But they contested the emerging broker state—one that legitimated the rival claims of competing interests and maintained dual structures of public and private economic governance—of the late 1930s. When the chance for national political management by a private, centralized industrial hierarchy and corporatism failed to gain a hold in the American polity, the du Ponts joined forces with the opposition. They backed the supposedly nonpartisan Liberty League with the intention of organizing a grass-roots protest of the incursion of government into peoples’ lives and the increasing power of the executive branch. But the League received little popular support and survived only by the contributions of disaffected business leaders.
Throughout these turbulent years the du Ponts kept up an active correspondence; rarely does the historian have access to such extensive personal as well as official records. By focusing on one family’s contribution to the economic and political debate between the world wars, Robert Burk casts light on the changing fortunes of business and government in twentieth-century America. In so doing, he modifies some of our popular conceptions about the 1920s and 1930s.
"Christian Moraru is an especially dynamic and brilliant scholar who works at a high level of critical and theoretical sophistication. I've never seen anything quite so exhaustive, so magisterial. Readers of Cosmodernism will think of the Keats line about an astronomer's exhilaration when a new planet swims into his ken."
---David Cowart, University of South Carolina
"Cosmodernism has the potential to become foundational for the study of a whole period. Christian Moraru undertakes here to establish a new basis for thinking about the era of cultural history in which we have found ourselves, in the United States but also around the world, since the end of the Cold War. The strength of Moraru's work lies in its intellectual ambition and scope; its polymathic range and breadth of learning; its confident mastery of a variety of disciplinary discourses; its fresh and thoughtful selection of texts for discussion; the sharpness and insight of its textual analyses; and, animating everything, its fervent commitment to a new and better way of understanding our relationship to others and the world at large."
---Brian McHale, The Ohio State University
A sweeping inquiry into post–Cold War American literature and theory, Cosmodernism argues, cautiously but persuasively, for the rise of a new cultural paradigm against the backdrop of accelerating globalization. Moraru calls this paradigm "cosmodern." He uses the term to account for what seems to be gradually challenging the postmodern over the last twenty-odd years. Not so much a well-structured movement yet, cosmodernism is chiefly a critical construct enabling Moraru to articulate representative literary-theoretical interventions of the past two decades into a reasonably coherent model. The coherence inheres, he shows, in a certain "relational" imaginary, which the critic canvasses by placing a wide range of authors and works in, across, and against the material-conceptual networks of globalization, cosmopolitanism, modernism, postmodernism, postcolonialism, multiculturalism, and other areas of contemporary U.S. intellectual history.
Christian Moraru is Professor of English at the University of North Carolina, Greensboro. His latest books include Rewriting: Postmodern Narrative and Cultural Critique in the Age of Cloning (2001), Memorious Discourse: Reprise and Representation in Postmodernism (2005), and the edited collection Postcommunism, Postmodernism, and the Global Imagination (2009).
Cover art: Earth, oil and acrylic on canvas, 48" × 36", 2008. Painting courtesy of Rebecca Darlington.
Mariano Siskind’s groundbreaking debut book redefines the scope of world literature, particularly regarding the place of Latin America in its imaginaries and mappings. In Siskind’s formulation, world literature is a modernizing discursive strategy, a way in which cultures negotiate their aspirations to participate in global networks of cultural exchange, and an original tool to reorganize literary history. Working with novels, poems, essays, travel narratives, and historical documents, Siskind reads the way Latin American literary modernity was produced as a global relation, from the rise of planetary novels in the 1870s and the cosmopolitan imaginaries of modernism at the turn of the twentieth century, to the global spread of magical realism. With its unusual breadth of reference and firm but unobtrusive grounding in philosophy, literary theory, and psychoanalysis, Cosmopolitan Desires will have a major impact in the fields of Latin American studies and comparative literature.
During World War II and the early Cold War period, factors such as race, gender, sexual orientation, or class made a number of American writers feel marginalized in U.S. society. Cosmopolitan Minds focuses on a core of transnational writers—Kay Boyle, Pearl S. Buck, William Gardner Smith, Richard Wright, and Paul Bowles—who found themselves prompted to seek experiences outside of their home country, experiences that profoundly changed their self-understanding and creative imagination as they encountered alternative points of views and cultural practices in Europe, Asia, and Africa.
Alexa Weik von Mossner offers a new perspective on the affective underpinnings of critical and reflexive cosmopolitanism by drawing on theories of emotion and literary imagination from cognitive psychology, philosophy, and cognitive literary studies. She analyzes how physical dislocation, and the sometimes violent shifts in understanding that result from our affective encounters with others, led Boyle, Buck, Smith, Wright, and Bowles to develop new, cosmopolitan solidarities across national, ethnic, and religious boundaries. She also shows how, in their literary texts, these writers employed strategic empathy to provoke strong emotions such as love, sympathy, compassion, fear, anger, guilt, shame, and disgust in their readers in order to challenge their parochial worldviews and practices. Reading these texts as emotionally powerful indictments of institutionalized racism and national violence inside and outside of the United States, Weik von Mossner demonstrates that our emotional engagements with others—real and imagined—are crucially important for the development of transnational and cosmopolitan imaginations.
This is the first book to study the development of the Cossack hero and to identify him as part of Russian cultural mythology. Kornblatt explores the power of the myth as a literary image, providing new and challenging readings of Pushkin, Gogol, Tolstoi, and a host of other writers.
In the mid-twentieth century, far more evangelicals supported such “liberal” causes as peace, social justice, and environmental protection. Only gradually did the conservative evangelical faction win dominance, allying with the Republican Party of Ronald Reagan and, eventually, George W. Bush.
In Countercultural Conservatives Axel Schäfer traces the evolution of a diffuse and pluralistic movement into the political force of the New Christian Right. In forging its complex theological and political identity, evangelicalism did not simply reject the ideas of 1960s counterculture, Schäfer argues. For all their strict Biblicism and uncompromising morality, evangelicals absorbed and extended key aspects of the countercultural worldview.
Carefully examining evangelicalism’s internal dynamics, fissures, and coalitions, this book offers an intriguing reinterpretation of the most important development in American religion and politics since World War II.
In a bold reconsideration of the late sixties San Francisco counterculture movement, Counterculture Kaleidoscope takes a close look at the cultural and musical practices of that era. Addressing the conventional wisdom that the movement was grounded in rebellion and opposition, the book exposes two myths: first, that the counterculture was an organized social and political movement of progressives with a shared agenda who opposed the mainstream (dubbed "hippies"); and second, that the counterculture was an innocent entity hijacked by commercialism and transformed over time into a vehicle of so-called "hip consumerism."
Seeking an alternative to the now common narrative, Nadya Zimmerman examines primary source material including music, artwork, popular literature, personal narratives, and firsthand historical accounts. She reveals that the San Francisco counterculture wasn't interested in commitments to causes and made no association with divisive issues---that it embraced everything in general and nothing in particular.
"Astute and accessible, Counterculture Kaleidoscope provides thought-provoking insights into the historical, cultural and social context of the San Francisco counter-culture and its music scene, including discussions of Vietnam and student protest, the Haight-Ashbury Diggers, the Grateful Dead, Led Zeppelin, Altamont, and Charlie Manson. A must for students and scholars of socio-musical activity and for all of us to whom music matters."
---Sheila Whiteley, author of The Space Between the Notes: Rock and the Counter-Culture and Too Much Too Young: Popular Music, Age and Gender
"The hippie counterculture has never garnered the scholarly attention accorded the new left and the black freedom struggle. Overviews of the period ritualistically mention it as part and parcel of that apparently incandescent era---the Sixties---but rarely capture its distinctiveness. Counterculture Kaleidoscope is a timely and provocative intervention in Sixties scholarship that significantly deepens our understanding of this important but understudied phenomenon."
—Alice Echols, Associate Professor, University of Southern California, and author of Scars of Sweet Paradise: The Life and Times of Janis Joplin
Rebelling against bourgeois vacuity and taking their countercultural critique on the road, the Beat writers and artists have long symbolized a spirit of freedom and radical democracy. Manuel Martinez offers an eye-opening challenge to this characterization of the Beats, juxtaposing them against Chicano nationalists like Raul Salinas, Jose Montoya, Luis Valdez, and Oscar Acosta and Mexican migrant writers in the United States, like Tomas Rivera and Ernesto Galarza.
In an innovative rereading of American radical politics and culture of the 1950s and 1960s, Martinez uncovers reactionary, neoromantic, and sometimes racist strains in the Beats’ vision of freedom, and he brings to the fore the complex stances of Latinos on participant democracy and progressive culture. He analyzes the ways that Beats, Chicanos, and migrant writers conceived of and articulated social and political perspectives. He contends that both the Beats’ extreme individualism and the Chicano nationalists’ narrow vision of citizenship are betrayals of the democratic ideal, but that the migrant writers presented a distinctly radical and inclusive vision of democracy that was truly countercultural.
Everyone got married in the 1950s, then moved to the suburbs to have the children of the soon-to-be-famous baby boom. For Americans who had survived the Great Depression and World War II, prosperous married life was a triumph. The unwed were objects of pity, scorn, even suspicion. And so in the 1950s, Eva Eldridge, no longer so young and marginally employed, was the perfect target for handsome Vick, who promised everything: storybook romance, marital respectability, and the lively social life she loved. When he disappeared not long after their honeymoon, she was devastated.
Eva hadn’t always been so vulnerable. Growing up pretty and popular in rural Oregon, she expected to marry young and live a life much like that of her parents, farming and rearing children. But then the United States threw its weight into World War II and as men headed to battle, the government started recruiting women to work in their places. Eva, like many other young women, found that life in the city with plenty of money, personal freedom, and lots of soldiers and sailors eager to pay court was more exhilarating than life down on the farm. After the war, she was ambivalent about getting married and settling down—at least until Vick arrived.
Refusing to believe her brand-new husband had abandoned her, Eva set about tracking down a man who, she now believed, was more damaged by wartime trauma than she had known. But instead of a wounded hero, she found a long string of women much like herself—hard-working, intelligent women who had loved and married Vick and now had no idea where—or even who—he was.
Drawing on a trove of some eight hundred letters and papers, Diane Simmons tells the story of Eva’s poignant struggle to get her dream husband back, as well as the stories of the women who had stood at the altar with Vick before and after her. Eva’s remarkable life illuminates women’s struggle for happiness at a time when marriage—and the perfect husband—meant everything.
The Cracks Between What We Are and What We Are Supposed to Be forms an extended consideration not only of Harryette Mullen’s own work, methods, and interests as a poet, but also of issues of central importance to African American poetry and language, women’s voices, and the future of poetry.
Together, these essays and interviews highlight the impulses and influences that drive Mullen’s work as a poet and thinker, and suggest unique possibilities for the future of poetic language and its role as an instrument of identity and power.
Cradle of Freedom puts a human face on the story of the black American struggle for equality in Alabama during the 1960s. While exceptional leaders such as Martin Luther King Jr., Rosa Parks, Fred Shuttlesworth, Ralph Abernathy, John Lewis, and others rose up from the ranks and carved their places in history, the burden of the movement was not carried by them alone. It was fueled by the commitment and hard work of thousands of everyday people who decided that the time had come to take a stand.
Cradle of Freedom is tied to the chronology of pivotal events occurring in Alabama the Montgomery bus boycott, the Freedom Rides, the Letter from the Birmingham Jail, the bombing of the 16th Street Baptist Church, Bloody Sunday, and the Black Power movement in the Black Belt. Gaillard artfully interweaves fresh stories of ordinary people with the familiar ones of the civil rights icons. We learn about the ministers and lawyers, both black and white, who aided the movement in distinct ways at key points. We meet Vernon Johns, King's predecessor at the Dexter Avenue Baptist Church in Montgomery, who first suggested boycotting the buses and who wrote later, "It is a heart strangely un-Christian that cannot thrill with joy when the least of men begin to pull in the direction of the stars." We hear from John Hulett who tells how terror of lynching forced him down into ditches whenever headlights appeared on a night road. We see the Edmund Pettus Bridge beatings from the perspective of marcher JoAnne Bland, who was only a child at the time. We learn of E. D. Nixon, a Pullman porter who helped organize the bus boycott and who later choked with emotion when, for the first time in his life, a white man extended his hand in greeting to him on a public street.
How these ordinary people rose to the challenges of an unfair system with a will and determination that changed their times forever is a fascinating and extraordinary story that Gaillard tells with his hallmark talent. Cradle of Freedom unfolds with the dramatic flow of a novel, yet it is based on meticulous research. With authority and grace, Gaillard explains how the southern state deemed the Cradle of the Confederacy became with great struggle, some loss, and much hope the Cradle of Freedom.
Craft is a diverse, democratic art form practiced by Americans of every gender, age, ethnicity, and class. Crafting America traces this expansive range of skilled making in a variety of forms, from ceramics and wood to performance costume and community-based practice. In exploring the intertwining of craft and American experience, this volume reveals how artists leverage their craft to realize the values of life, liberty, and the pursuit of happiness.
Accompanying an exhibition of the same title organized by Crystal Bridges Museum of American Art, Crafting America features contributions from scholars that illuminate craft’s relationship to ritual and memory, personal independence, abstraction, and Native American histories. The richly illustrated catalog section—with more than a hundred color images accompanied by lively commentary—presents a vivid picture of American craft over the past eight decades, offering fresh insights on the relationships between objects.
Building upon recent advances in craft scholarship and encouraging more inclusive narratives, Crafting America presents a bold statement on the vital role of craft within the broader context of American art and identity.
Creating Spaniards is a cultural and intellectual history that explains the intersection of politics and culture, and the formation of a national identity, during Spain’s Second Republic and Civil War. It counters recent scholarship claiming that leaders of the Second Republic had no programs for "inventing traditions" to encourage a Spanish national identity.
Focusing on the Second Republic, 1931–1936, Sandie Holguín illustrates how various intellectuals and politicians of the Republican–Socialist coalition used theater, literature, and film to aid the construction of a unified Spanish culture and history. She uses memoirs, journals, newspapers, parliamentary debates, and archival sources in her examination of the impact that cultural reforms had on the transformation of one of Europe’s oldest states.
In the late nineteenth century, general-interest magazines began to reach an unprecedented number of readers and conveyed to those readers diverse messages about the meaning of masculinity in America. Over the next fifty years, these messages narrated a shift from Victorian masculinity, which valued character, integrity, hard work, and duty, to modern masculinity, which valued personality, self-realization, and image. In Creating the Modern Man, Tom Pendergast studies the multifaceted ways that masculinity is represented in magazines published during this transitional period.
Pendergast focuses on the rise of mass consumer culture, demonstrating that consumerism was a key factor in reshaping American notions of masculinity as presented in popular magazines. Whereas much scholarship has decried the effects of consumerism, Pendergast treats consumer culture as an energizing force in the American magazine market. He suggests that such magazines offered men new and meaningful visions of masculine identity and argues that men actively participated in restructuring the masculine ideal. Engaging a wide range of magazines from American Magazine to Esquire to True, Pendergast demonstrates how these publications presented masculinity in ways that reflected the magazines' relationship to advertisers, contributors, and readers.
This fascinating study includes such African American magazines as the Colored American, Crisis, Opportunity, and Ebony. Pendergast reasons that the rise of modern masculinity opened the way for African American men to identify with normative masculine values. As white men reinvented the idea of the "self-made man" for a new era, black men struggled to negotiate a meaningful place for black masculinity in a culture intent on denying them access.
The first complete investigation of the representation of men in American magazines, Creating the Modern Man makes an important contribution to our understanding of these publications, both as elements of mass culture and as interesting institutions in their own right. Pendergast takes readers inside the complex world of magazine publishing, demonstrating how magazines slowly yet surely help create the cultural images that shape societal gender roles.
Combining his skills as both a professional reviewer of theatre and a literary critic, Robert J. Andreach finds himself in a unique position to provide coherence to what most observers perceive as an unrelated welter of contemporary theatrical experiences. Exploring the theatre from the 1960s to the present, he shows the various ways in which the contemporary American theatre creates a personal, theatrical, and national self.
Andreach argues that the contemporary American theatre creates multiple selves that reflect and give voice to the many communities within our multicultural society. These selves are fragmented and enclaved, however, which makes necessary a counter movement that seeks, through interaction among the various parts, to heal the divisions within, between, and among them.
In his examination of the contemporary theatre, Andreach demonstrates that the plays and the performance art of the feminist, African-American, Hispanic-American, Asian-American, and Native American theatres are equal to the works created within the dominant Eurocentric culture.
He then turns to comparable works created within the culture of what performance artist Karen Finley calls the "one male god," works that reflect the breakup of an old order. He discusses the experimental theatre, which turns to the imagination to reveal the nature of the self, and concludes with an examination of recent American works, pointing out in each either the presence or absence of resolution within the divisions of self.
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