A SCHOLARLY BOOK REPOSITORY
Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism.
Shonda Rhimes is one of the most powerful players in contemporary American network television. Beginning with her break-out hit series Grey’s Anatomy, she has successfully debuted Private Practice, Scandal, How to Get Away with Murder, The Catch, For The People, and Station 19. Rhimes’s work is attentive to identity politics, “post-” identity politics, power, and representation, addressing innumerable societal issues. Rhimes intentionally addresses these issues with diverse characters and story lines that center, for example, on interracial friendships and relationships, LGBTIQ relationships and parenting, the impact of disability on familial and work dynamics, and complex representations of womanhood. This volume serves as a means to theorize Rhimes’s contributions and influence by inspiring provocative conversations about television as a deeply politicized institution and exploring how Rhimes fits into the implications of twenty-first century television.
Nathanael West has been hailed as “an apocalyptic writer,” “a writer on the left,” and “a precursor to postmodernism.” But until now no critic has succeeded in fully engaging West’s distinctive method of negation. In American Superrealism, Jonathan Veitch examines West’s letters, short stories, screenplays and novels—some of which are discussed here for the first time—as well as West’s collaboration with William Carlos Williams during their tenure as the editors of Contact. Locating West in a lively, American avant-garde tradition that stretches from Marcel Duchamp to Andy Warhol, Veitch explores the possibilities and limitations of dada and surrealism—the use of readymades, scatalogical humor, human machines, “exquisite corpses”—as modes of social criticism. American Superrealism offers what is surely the definitive study of West, as well as a provocative analysis that reveals the issue of representation as the central concern of Depression-era America.
In Anthropology and the Politics of Representation volume editor Gabriela Vargas-Cetina brings together a group of international scholars who, through their fieldwork experiences, reflect on the epistemological, political, and personal implications of their own work. To do so, they focus on such topics as ethnography, anthropologists’ engagement in identity politics, representational practices, the contexts of anthropological research and work, and the effects of personal choices regarding self-involvement in local causes that may extend beyond purely ethnographic goals.
Such reflections raise a number of ethnographic questions: What are ethnographic goals? Who sets the agenda for ethnographic writing? How does fieldwork change the anthropologist’s identity? Do ethnography and ethnographers have an impact on local lives and self-representation? How do anthropologists balance long-held respect for cultural diversity with advocacy for local people? How does an author choose what to say and write, and what not to disclose? Should anthropologists support causes that may require going against their informed knowledge of local lives?
By placing Brazilian and Argentine anti-literature at the crux of a new way of thinking about the field, Shellhorse challenges prevailing discussions about the historical projection and critical force of Latin American literature. Examining a diverse array of texts and media that include the visual arts, concrete poetry, film scripts, pop culture, neo-baroque narrative, and others that defy genre, Shellhorse delineates the subversive potential of anti-literary modes of writing while also engaging current debates in Latin American studies on subalternity, feminine writing, posthegemony, concretism, affect, marranismo, and the politics of aesthetics.
Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque.
Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora
Deepti Misri shows how Partition began a history of politicized animosity associated with the differing ideas of ""India"" held by communities and in regions on one hand, and by the political-military Indian state on the other. She moves beyond that formative national event, however, in order to examine other forms of gendered violence in the postcolonial life of the nation, including custodial rape, public stripping, deturbanning, and enforced disappearances. Assembling literary, historiographic, performative, and visual representations of gendered violence against women and men, Misri establishes that cultural expressions do not just follow violence but determine its very contours, and interrogates the gendered scripts underwriting the violence originating in the contested visions of what ""India"" means.
Ambitious and ranging across disciplines, Beyond Partition offers both an overview of and nuanced new perspectives on the ways caste, identity, and class complicate representations of violence, and how such representations shape our understandings of both violence and India.
Starting with popular books from the late nineteenth century and moving ultimately to the electronic guides of the current day, Binocular Vision contextualizes birdwatching field guides historically, culturally, and in terms of a wide range of important environmental issues. Schaffner questions the assumptions found in field guides to tease out their ideological workings. He argues that the sanitized world represented in these guides misleads readers by omitting industrial landscapes and so-called nuisance birds, leaving users of the guides disconnected from environmental degradation and its impact on bird populations.
By putting field guides into direct conversation with concerns about species conservation, environmental management, the human alteration of the environment, and the problem of toxic pollution, Binocular Vision is a field guide to field guides that takes a novel perspective on how we think about and interact with the world around us.
Zita Nunes argues that the prevailing narratives of identity formation throughout the Americas share a dependence on metaphors of incorporation and, often, of cannibalism. From the position of the incorporating body, the construction of a national and racial identity through a process of assimilation presupposes a remainder, a residue.
Nunes addresses works by writers and artists who explore what is left behind in the formation of national identities and speak to the limits of the contemporary discourse of democracy. Cannibal Democracy tracks its central metaphor’s circulation through the work of writers such as Mário de Andrade, W. E. B. Du Bois, and Toni Morrison and journalists of the black press, as well as work by visual artists including Magdalena Campos-Pons and Keith Piper, and reveals how exclusion-understood in terms of what is left out-can be fruitfully understood in terms of what is left over from a process of unification or incorporation.
Nunes shows that while this remainder can be deferred into the future-lurking as a threat to the desired stability of the present-the residue haunts discourses of national unity, undermining the ideologies of democracy that claim to resolve issues of race.
Zita Nunes is associate professor of English at the University of Maryland, College Park.
As the number of women in the U.S. Senate grows, so does the number of citizens represented by women senators. At the same time, gender remains a key factor in senators’ communications to constituents as well as in news media portrayals of senators. Focusing on 32 male and female senators during the 2006 congressional election year, Kim L. Fridkin and Patrick J. Kenney examine in detail senators’ official websites, several thousand press releases and local news stories, and surveys of 18,000 citizens to discern constituents’ attitudes about their senators.
The authors conclude that gender role expectations and stereotypes do indeed constrain representational and campaign messages and influence news coverage of both candidates and elected senators. Further, while citizens appear to be less influenced by entrenched stereotypes, they pay more attention to female senators’ messages and become more knowledgeable about them, in comparison to male senators.
Civilization and violence are not necessarily the antagonists we presume-withcivilization taming violence, and violence unmaking civilization. Focusing on postindependence Colombia, this book brings to light the ways in which violenceand civilization actually intertwined and reinforced each other in the development of postcolonial capitalism.
The narratives of civilization and violence, Cristina Rojas contends, play key roles in the formation of racial, gender, and class identities; they also provide pivotal logic to both the formation of the nation and the processes of capitalist development. During the Liberal era of Colombian history (1849-1878), a dominant creole elite enforced a "will to civilization" that sought to create a new world in its own image. Rojas explores different arenas in which this pursuit meant the violent imposition of white, liberal, laissez-faire capitalism. Drawing on a wide range of social theory, Rojas develops a new way of understanding the relationship between violence and the formation of national identity-not just in the history of Colombia, but also in the broader narratives of civilization.
The book is the most comprehensive analysis of black politics in the congressional context ever published. It will appeal to political scientists, sociologists, historians, and psychologists concerned with minority politics, legislative politics, and the psychological, political, and sociological effects of increasing minority membership in Congress on the perception of government held by African Americans.
Kenny J. Whitby is Associate Professor of Political Science, University of South Carolina.
John Phillip Reid goes on to argue that it was generally the application, not the definition, of these rights that was disputed. The sole—and critical—exception concerned the right of representation. American perceptions of the responsibility of representatives to their constituents, the necessity of equal representation, and the constitutional function of consent had diverged gradually, but significantly, from British tradition. Drawing on his mastery of eighteenth-century legal thought, Reid explores the origins and shifting meanings of representation, consent, arbitrary rule, and constitution. He demonstrates that the controversy which led to the American Revolution had more to do with jurisprudential and constitutional principles than with democracy and equality. This book will interest legal historians, Constitutional scholars, and political theorists.
Applying a broad geographical approach to comparative Latino literary and cultural studies, Continental Shifts illuminates how the discursive treatment of Latinos changed dramatically following the enactment of NAFTA—a shift exacerbated by 9/11. While previous studies of immigrant representation have focused on single regions (the US/Mexico border in particular), specific genres (literature vs. political rhetoric), or individual groups, Continental Shifts unites these disparate discussions in a provocative, in-depth examination.
Bringing together a wide range of groups and genres, this intercultural study explores novels by Latin American and Latino writers, a border film by Tommy Lee Jones and Guillermo Arriaga, “viral” videos of political speeches, popular television programming (particularly shows that feature incarceration and public shaming), and user-generated YouTube videos. These cultural products reveal the complexity of Latino representations in contemporary discourse. While tropes of Latino migrants as threatening, diseased foreign bodies date back to the nineteenth century, Continental Shifts marks the more pernicious, recent images of Latino laborers (legal and not) in a variety of contemporary media. Using vivid examples, John Riofrio demonstrates the connections between rhetorical and ideological violence and the physical and psychological violence that has more intensely plagued Latino communities in recent decades. Culminating with a consideration of the “American” identity, this eye-opening work ultimately probes the nation’s ongoing struggle to uphold democratic ideals amid dehumanizing multiethnic tension.
Both film noir and the Weimar street film hold a continuing fascination for film spectators and film theorists alike. The female characters, especially the alluring femmes fatales, remain a focus for critical and popular attention. In the tradition of such attention, Dangerous Dames focuses on the femme fatale and her antithesis, the femme attrapée.
Unlike most theorists, Jans Wager examines these archetypes from the perspective of the female spectator and rejects the persistence of vision that allows a reading of these female characters only as representations of unstable postwar masculinity. Professor Wager suggests that the woman in the audience has always seen and understood these characters as representations of a complex aspect of her existence.
Dangerous Dames looks at the Weimar street films The Street, Variety, Asphalt, and M and the film noir movies The Maltese Falcon, Gun Crazy, and The Big Heat. This book opens the doors to spectators and theorists alike, suggesting cinematic pleasures outside the bounds of accepted readings and beyond the narrow categorization of film noir and the Weimar street film as masculine forms.
and pictorial representations, The Double Screen shows how the
collaboration and tension between material form and image gives life to
a painting. A Chinese painting is often reduced to the image it bears;
its material form is dismissed; its intimate connection with social
activities and cultural conventions neglected.
A screen occupies a space and divides it, supplies an ideal surface for
painting, and has been a favorite pictorial image in Chinese art since
antiquity. Wu Hung undertakes a comprehensive analysis of the screen,
which can be an object, an art medium, a pictorial motif, or all three
at once. With its diverse roles, the screen has provided Chinese
painters with endless opportunities to reinvent their art.
The Double Screen provides a powerful non-Western perspective on
issues from portraiture and pictorial narrative to voyeurism,
masquerade, and political rhetoric. It will be invaluable to anyone
interested in the history of art and Asian studies.
This book contemplates a large problem: what is a traditional Chinese painting? Wu Hung answers this question through a comprehensive analysis of the screen, a major format and a popular pictorial motif in traditional China. With a broad array of examples ranging from the early centuries C.E. to the 1800s, he explores the screen’s position in art – as an important site for artistic imagination, as an illusionary representation on a flat surface, and as an architectural device defining cultural conventions. A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favourite pictorial image in Chinese art since antiquity. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art.
The author argues that any understanding of Chinese painting must include discussion of its material forms as well as its intimate connection with cultural context and convention. Thus, The Double Screen offers a powerful non-western perspective on diverse artistic and cultural genres, from portraiture and pictorial narrative to voyeurism and masquerade, and will be invaluable to anyone interested in the history of art and Asian studies as well as to students and specialists in the field.
The historiography of feminist rhetorical research raises ethical questions about whose stories are told and how. Women and other marginalized people have been excluded historically from many formal institutions, and researchers in this field often turn to alternative archives to explore how women have used writing and rhetoric to participate in civic life, share their lived experiences, and effect change. Such methods may lead to innovation in documenting practices that took place in local, grassroots settings. The chapters in this volume present a frank conversation about the ways in which feminist scholars engage in the work of recovering hidden rhetorics, and grapple with the ethical challenges raised by this recovery work.
With its title essay, "Fables of Representation," one of the most cogent studies ever written of the New York School of poets (a group that includes the influential poet John Ashbery), this book is required reading for anyone who seeks to understand the poetry and culture of the postmodern period.
Author Paul Hoover's wide-ranging subjects include African-American interdisciplinary studies; the position of poetry in the electronic age; the notion of doubleness in the work of Harryette Mullen and others; the lyricism of the New York School poets; and the role of reality in American poetry. Hoover also introduces two provocative essays sure to generate attention and discussion: "The Postmodern Era: A Final Exam" and "The New Millennium: Fifty Statements on Literature and Culture."
Paul Hoover is the editor of the anthology Postmodern American Poetry and author of nine poetry collections, including Totem and Shadow: New and Selected Poems and Viridian. His poetry has appeared in American Poetry Review, The New Republic, and The Paris Review, among others. He is Poet-in-Residence at Columbia College, Chicago.
This interdisciplinary study of food in medieval and early modern communities connects threads of history conventionally examined separately or in isolation. The intersection of foodstuffs with politics, religion, economics, and culture enhances our understanding of historical developments and cultural continuities through the centuries, giving insight that today, as much as in the past, we are what we eat and what we eat is never devoid of meaning.
Specialists on the societies about which they write, these anthropologists draw on ethnographic research to provide on-the-ground analyses of communities in the wake of mass brutality. They investigate how mass violence is described or remembered, and how those representations are altered by the attempts of others, from NGOs to governments, to assert “the truth” about outbreaks of violence. One contributor questions the neutrality of an international group monitoring violence in Sudan and the assumption that such groups are, at worst, benign. Another examines the consequences of how events, victims, and perpetrators are portrayed by the Rwandan government during the annual commemoration of that country’s genocide in 1994. Still another explores the silence around the deaths of between eighty and one hundred thousand people on Bali during Indonesia’s state-sponsored anticommunist violence of 1965–1966, a genocidal period that until recently was rarely referenced in tourist guidebooks, anthropological studies on Bali, or even among the Balinese themselves. Other contributors consider issues of political identity and legitimacy, coping, the media, and “ethnic cleansing.” Genocide: Truth, Memory, and Representation reveals the major contribution that cultural anthropologists can make to the study of genocide.
Contributors. Pamela Ballinger, Jennie E. Burnet, Conerly Casey, Elizabeth Drexler, Leslie Dwyer, Alexander Laban Hinton, Sharon E. Hutchinson, Uli Linke, Kevin Lewis O’Neill, Antonius C. G. M. Robben, Debra Rodman, Victoria Sanford
Austin did not simply categorize gesture mechanically, separating delivery from rhetoric and the discipline’s overall goals, but instead he provided a theoretical framework of written descriptions and illustrations that positions delivery as central to effective rhetoric and civic interactions. Balancing the variable physical elements of human interactions as well as the demands of communication, Austin’s system fortuitously anticipated contemporary inquiries into embodied and nonverbal communication. Enlightenment rhetoricians, scientists, and physicians relied on sympathy and its attendant vivacious and lively ideas to convey feelings and facts to their varied audiences. During the seventeenth and eighteenth-centuries, as these disciplines formed increasingly distinct, specialized boundaries, they repurposed existing, shared communication conventions to new ends. While the emerging standards necessarily diverged, each was grounded in the subjective, embodied bedrock of the sympathetic, magical tradition.
In Holocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel’s Yad Vashem in Jerusalem, Germany’s Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind’s architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country’s current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.
Hansen-Glucklich explores how each museum’s concept of the sacred shapes the design and choreography of visitors’ experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.
Although partisan polarization gets much of the attention in political science scholarship about Congress, members of Congress represent diverse communities around the country. Home Field Advantage demonstrates the importance of this understudied element of American congressional elections and representation in the modern era: the local, place-based roots that members of Congress have in their home districts. Charles Hunt argues that legislators’ local roots in their district have a significant and independent impact on their campaigns, election outcomes, and more broadly on the relationship between members of the U.S. House of Representatives and their constituents. Drawing on original data, his research reveals that there is considerable variation in election outcomes, performance relative to presidential candidates, campaign spending, and constituent communication styles that are not fully explained by partisanship, incumbency, or other well-established theories of American political representation. Rather, many of these differences are the result of the depth of a legislator’s local roots in their district that predate their time in Congress. Hunt lays out a detailed “Theory of Local Roots” and their influence in congressional representation, demonstrating this influence empirically using multiple original measures of local roots over a full cross- section of legislators and a significant period of time.
Mauricio Suárez develops a conception of representation that delivers a compelling account of modeling practice. He begins by discussing the history and methodology of model building, charting the emergence of what he calls the modeling attitude, a nineteenth-century and fin de siècle development. Prominent cases of models, both historical and contemporary, are used as benchmarks for the accounts of representation considered throughout the book. After arguing against reductive naturalist theories of scientific representation, Suárez sets out his own account: a case for pluralism regarding the means of representation and minimalism regarding its constituents. He shows that scientists employ a variety of modeling relations in their representational practice—which helps them to assess the accuracy of their representations—while demonstrating that there is nothing metaphysically deep about the constituent relation that encompasses all these diverse means.
The book also probes the broad implications of Suárez’s inferential conception outside scientific modeling itself, covering analogies with debates about artistic representation and philosophical thought over the past several decades.
While other scholars have argued that the Progressive Era was the “golden age” for women’s single-sex education, pointing to the many positive depictions of the women’s college student, Inness suggests that these representations actually helped to perpetuate the status quo and did little to advance women’s social rights.
MacLeod’s exploration focuses on the representation of female characters in French comics across genres, artistic styles, and time periods. Until now, these characters and their creators have received relatively little scholarly attention, or have only been considered individually, rather than within wider patterns of female representation; this book aims to correct that.
In humanitarian and political debates about the topic, women and children are frequently considered first. Since the 1990s, human rights have become the most legitimate and legitimizing juridical and cultural claim made on a woman's behalf. But what are the consequences of equating women's rights with human rights? As the eleven essays in this volume show, the impact is often contradictory.
Bringing together some of the most respected scholars in the field, including Inderpal Grewal, Leela Fernandes, Leigh Gilmore, Susan Koshy, Patrice McDermott, and Sidonie Smith, Just Advocacy? sheds light on the often overlooked ways that women and children are further subjugated when political or humanitarian groups represent them solely as victims and portray the individuals that are helping them as paternal saviors.
Drawn from a variety of disciplinary perspectives in the humanities, arts, and social sciences, Just Advocacy? promises to advance a more nuanced and politically responsible understanding of human rights for both scholars and activists.
This compilation of cutting-edge philosophical and scientific research comprises a survey of recent neuroscientific research on representational systems in animals and humans. Representational systems provide their owners with useful information about their environment and are shaped by the special informational needs of the organism with respect to its environment. In this volume, the authors address the long-standing dispute about the usefulness of the notion of representation in the study of behavior systems and offer a fresh perspective on representational systems that combines philosophical insights and experimental experience.
In the first section, "Inventing the Lesbian," Sherrie A. Inness explores depictions of lesbians in popular texts aimed primarily at heterosexual consumers. She moves from novels of the 1920s to books about life at women's colleges and boarding schools, to such contemporary women's magazines as Cosmopolitan, Glamour, and Vogue.
In the next section, "Forms of Resistance," Inness probes the ways in which lesbians have refashioned texts intended for a heterosexual audience or created their own narratives. One chapter shows how lesbian readers have reinterpreted the Nancy Drew mysteries, looking at them from a distinctly "queer" perspective. Another chapter addresses the changing portrayal of lesbians in children's books over the past two decades.
The last section, "Writing in the Margins," scrutinizes the extent to which lesbians, themselves a marginalized group, have created a society that relegates some of its own members to the outskirts. Topics include the geographic politics of lesbianism, the complex issue of "passing," and the meaning of butch identity in twentieth-century lesbian culture.
Why did Puritan Christianity repeatedly turn to allegorical forms of representation in spite of its own intolerance of "Allegorical fancies?" Luxon demonstrates that Protestant doctrine itself was a kind of allegory in hiding, one that enabled Puritans to forge a figural view of reality while championing the "literal" and the "historical". He argues that for Puritanism to survive its own literalistic, anti-symbolic, and millenarian challenges, a "fall" back into allegory was inevitable. Representative of this "fall," The Pilgrim's Progress marks the culminating moment at which the Reformation's war against allegory turns upon itself. An essential work for understanding both the history and theory of representation and the work of John Bunyan, Literal Figures skillfully blends historical and critical methods to describe the most important features of early modern Protestant and Puritan culture.
Since the turn of the twenty-first century, the idea of a divided United States has become commonplace. In the wake of the 2020 election, some commentators warned that the American public was the most divided it has been since the Civil War. Political scientists, political theorists, and public intellectuals have suggested that uninformed, misinformed, and disinformed voters are at the root of this division. Some are simply unwilling to accept facts or science, which makes them easy targets for elite manipulation. It also creates a grass-roots political culture that discourages cross-partisan collaboration in Washington.
Yet, manipulation of voters is not as grave a threat to democracy in America as many scholars and pundits make it out to be. The greater threat comes from a picture that partisans use to rally their supporters: that of an America sorted into opposing camps so deeply rooted that they cannot be shaken loose and remade. Making Constituencies proposes a new theory of representation as mobilization to argue that divisions like these are not inherent in society, but created, and political representatives of all kinds forge and deploy them to cultivate constituencies.
When Mayan leaders protested the celebration of the Quincentenary of the "discovery" of America and joined with other indigenous groups in the Americas to proclaim an alternate celebration of 500 years of resistance, they rose to national prominence in Guatemala. This was possible in part because of the cultural, political, economic, and religious revitalization that occurred in Mayan communities in the later half of the twentieth century. Another result of the revitalization was Mayan students' enrollment in graduate programs in order to reclaim the intellectual history of the brilliant Mayan past. Victor Montejo was one of those students.
This is the first book to be published outside of Guatemala where a Mayan writer other than Rigoberta Menchu discusses the history and problems of the country. It collects essays Montejo has written over the past ten years that address three critical issues facing Mayan peoples today: identity, representation, and Mayan leadership. Montejo is deeply invested in furthering the discussion of the effectiveness of Mayan leadership because he believes that self-evaluation is necessary for the movement to advance. He also criticizes the racist treatment that Mayans experience, and advocates for the construction of a more pluralistic Guatemala that recognizes cultural diversity and abandons assimilation. This volume maps a new political alternative for the future of the movement that promotes inter-ethnic collaboration alongside a reverence for Mayan culture.
These case studies present a new and creative synthesis of the multiple meanings of memory and representation within the context of contemporary perceptions of truth.
Mexico City became one of the centers of architectural modernism in the Americas in the first half of the twentieth century. Invigorated by insights drawn from the first published histories of Mexican colonial architecture, which suggested that Mexico possessed a distinctive architecture and culture, beginning in the 1920s a new generation of architects created profoundly visual modern buildings intended to convey Mexico’s unique cultural character. By midcentury these architects and their students had rewritten the country’s architectural history and transformed the capital into a metropolis where new buildings that evoked pre-conquest, colonial, and International Style architecture coexisted.
Through an exploration of schools, a university campus, a government ministry, a workers’ park, and houses for Diego Rivera and Luis Barragán, Kathryn O’Rourke offers a new interpretation of modern architecture in the Mexican capital, showing close links between design, evolving understandings of national architectural history, folk art, and social reform. This book demonstrates why creating a distinctively Mexican architecture captivated architects whose work was formally dissimilar, and how that concern became central to the profession.
More or Less Dead analyzes how such violence against women has been represented in news media, books, films, photography, and art. Alice Driver argues that the various cultural reports often express anxiety or criticism about how women traverse and inhabit the geography of Ciudad Juárez and further the idea of the public female body as hypersexualized. Rather than searching for justice, the various media—art, photography, and even graffiti—often reuse victimized bodies in sensationalist, attention-grabbing ways. In order to counteract such views, local activists mark the city with graffiti and memorials that create a living memory of the violence and try to humanize the victims of these crimes.
The phrase “more or less dead” was coined by Chilean author Roberto Bolaño in his novel 2666, a penetrating fictional study of Juárez. Driver explains that victims are “more or less dead” because their bodies are never found or aren’t properly identified, leaving families with an uncertainty lasting for decades—or forever.
The author’s clear, precise journalistic style tackles the ethics of representing feminicide victims in Ciudad Juárez. Making a distinction between the words “femicide” (the murder of girls or women) and “feminicide” (murder as a gender-driven event), one of her interviewees says, “Women are killed for being women, and they are victims of masculine violence because they are women. It is a crime of hate against the female gender. These are crimes of power.”
The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.
This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders.
Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.
Using interviews and participant observation as well as close readings of official documents, propaganda materials, and popular media, Anagnost notes the discontinuities in the nation’s narrative—moments where this narrative has been radically reorganized at critical junctures in China’s modern history. Covering a broad range of issues relating to representation and power—issues that have presented themselves with particular clarity in the years since the violent crackdown on the student movement of 1989—National Past-Times critiques the ambiguous possibilities produced by the market, as well as new opportunities for "unfreedom" in the discipline of labor and the commodification of women. Anagnost begins with a retrospective reflection on the practice of "speaking bitterness" in socialist revolutionary practice. Subsequent essays discuss the culture debates of the 1980s, the discourse of social disorder, the issue of population control, the film The Story of Qiu Ju, and anomalies at the theme park "Splendid China."
Based on ethnographic and archival research conducted by Axel at several sites in India, England, and the United States, the text delineates a theoretical trajectory for thinking about the proliferation of diaspora studies and area studies in America and England. After discussing this trajectory in relation to the colonial and postcolonial movement of Sikhs, Axel analyzes the production and circulation of images of Sikhs around the world, beginning with visual representations of Maharaja Duleep Singh, the last Sikh ruler of Punjab, who died in 1893. He argues that imagery of particular male Sikh bodies has situated—at different times and in different ways—points of mediation between various populations of Sikhs around the world. Most crucially, he describes the torture of Sikhs by Indian police between 1983 and the present and discusses the images of tortured Sikh bodies that have been circulating on the Internet since 1996. Finally, he returns to questions of the homeland, reflecting on what the issues discussed in The Nation's Tortured Body might mean for the ongoing fight for Khalistan.
Specialists in anthropology, history, cultural studies, diaspora studies, and Sikh studies will find much of interest in this important work.
This volume examines Native performance using a variety of lenses, such as feminism, literary and film theory, and postcolonial discourse. Through the many unique voices of the contributors, major themes are explored, such as indigenous self-representations in performance, representations by nonindigenous people, cultural authenticity in performance and representation, and cross-fertilization between cultures. Authors introduce important, though sometimes controversial, issues as they consider the effects of miscegenation on traditional customs, racial discrimination, Native women’s position in a multicultural society, and the relationship between authenticity and hybridity in Native performance.
An important addition to the new and growing field of Native performance, Wilmer’s book cuts across disciplines and areas of study in a way no other book in the field does. It will appeal not only to those interested in Native American studies but also to those concerned with women’s and gender studies, literary and film studies, and cultural studies.
Baker provides an animated discussion of how animals enter into the iconography of power through wartime depictions of the enemy, political cartoons, and sports symbolism. He examines a phenomenon he calls the "disnification" of animals, meaning a reduction of the animal to the trivial and stupid, and shows how books featuring talking animals underscore human superiority. He also discusses how his findings might inform the strategies of animal rights advocates seeking to call public attention to animal suffering and abuse. Until animals are extricated from the baggage of imposed images, Baker maintains, neither they nor their predicaments can be clearly seen.
For this edition, Baker provides a new introduction, specifically addressing an American audience, that touches on such topics as the Cow Parade, animal imagery in the presidential race, and animatronic animals in recent films.
Jeffrey E. Cohen presents a detailed, quantitative study of the characteristics of presidential cabinets from the days of George Washington through the first Reagan administration. Dividing U.S. history into five party eras, he examines cabinet members' age, education, region, occupation, recruitment patterns, party affiliations, and relations with other branches and institutions of government. This study also addresses major theoretical issues: the Constitution never provided for a cabinet, although George Washington established it. Questions soon arose as to its functions, relation to Congress, and the rules and precedents guiding its activities. Cohen examines how the cabinet balanced representation and capability, and how, despite a lack of institutional authority, it has managed to survive through every administration.
Can the Holocaust be compellingly described or represented? Or is there some core aspect of the extermination of the Jews of Europe which resists our powers of depiction, of theory, of narrative? In this volume, twenty scholars probe the moral, epistemological, and aesthetic limits of an account or portrayal of the Nazi horror.
Christopher Browning, Hayden White, Carlo Ginzburg, Martin Jay, Dominick LaCapra, and others focus first on the general question: can the record of his historical event be established objectively through documents and witnesses, or is every historical interpretation informed by the perspective of its narrator? The suggestion that all historical accounts are determined by a preestablished narrative choice raises the ethical and intellectual issues of various forms of relativization. In more specific terms, what are the possibilities of historicizing National Socialism without minimizing the historical place of the Holocaust?
Also at issue are the problems related to an artistic representation, particularly the dilemmas posed by aestheticization. John Felstiner, Yael S. Feldman, Sidra Ezrahi, Eric Santner, and Anton Kaes grapple with these questions and confront the inadequacy of words in the face of the Holocaust. Others address the problem of fitting Nazi policies and atrocities into the history of Western thought and science. The book concludes with Geoffrey Hartman’s evocative meditation on memory.
These essays expose to scrutiny questions that have a pressing claim on our attention, our conscience, and our cultural memory. First presented at a conference organized by Saul Friedlander, they are now made available for the wide consideration and discussion they merit.
Christopher Ellis argues citizens’—and legislators’—views of class politics are driven by lived experience in particular communities. While some experience is formally political, on an informal basis citizens learn a great deal about their position in the broader socioeconomic spectrum and the social norms governing how class intersects with day-to-day life. These factors are important for policymakers, since most legislators do not represent “the public” at large, but specific constituencies.
Focusing on U.S. congressional districts as the contextual unit of interest, Ellis argues individuals’ political behavior cannot be separated from their environment, and shows how income’s role in political processes is affected by the contexts in which citizens and legislators interact. Political inequality exists in the aggregate, but it does not exist everywhere. It is, rather, a function of specific arrangements that depress the political influence of the poor. Identifying and understanding these factors is a crucial step in thinking about what reforms might be especially helpful in enhancing equality of political voice.
In the most comprehensive treatment of the subject to date, David Canon shows that the unintended consequences of black majority districts actually contradict the common wisdom that whites will not be adequately represented in these areas. Not only do black candidates need white votes to win, but this crucial "swing" vote often decides the race. And, once elected, even the black members who appeal primarily to black voters usually do a better job than white members of walking the racial tightrope, balancing the needs of their diverse constituents.
Ultimately, Canon contends, minority districting is good for the country as a whole. These districts not only give African Americans a greater voice in the political process, they promote a politics of commonality—a biracial politics—rather than a politics of difference.
The contentious relationship between modernism and realism has powerfully influenced literary history throughout the twentieth century and into the present. In 1930s Korea, at a formative moment in these debates, a “crisis of representation” stemming from the loss of faith in language as a vehicle of meaningful reference to the world became a central concern of literary modernists as they operated under Japanese colonial rule.
Christopher P. Hanscom examines the critical and literary production of three prose authors central to 1930s literary circles—Pak T’aewon, Kim Yujong, and Yi T’aejun—whose works confront this crisis by critiquing the concept of transparent or “empiricist” language that formed the basis for both a nationalist literary movement and the legitimizing discourse of assimilatory colonization. Bridging literary and colonial studies, this re-reading of modernist fiction within the imperial context illuminates links between literary practice and colonial discourse and questions anew the relationship between aesthetics and politics.
The Real Modern challenges Eurocentric and nativist perspectives on the derivative particularity of non-Western literatures, opens global modernist studies to the similarities and differences of the colonial Korean case, and argues for decolonization of the ways in which non-Western literatures are read in both local and global contexts.
Reconstituting the American Renaissance describes how Emerson and Whitman came into the period of their greatest productivity with different conceptions of the functions and political efficacy of the word in the world. It challenges Emerson’s position as Whitman’s necessary precursor and offers a cultural history that emphasizes the two writers’ differences in social class, cultural experience, and political perspective. In their writings between 1830 and 1855, the book finds contrasting conceptions of the relations between the “representative man” and the constituencies to whom, and for whom, he speaks. Reconstituting the American Renaissance opens up the canonical relationship between Emerson and Whitman and multiplies the historical and discursive contexts for understanding their published and unpublished works.
As pop culture experts Frederick Luis Aldama and Christopher González show, the way Latinx peoples have appeared and are still represented in mainstream TV and film narratives is as frustrating as it is illuminating. Stereotypes such as drug lords, petty criminals, buffoons, and sexed-up lovers have filled both small and silver screens—and the minds of the public. Aldama and González blaze new paths through Latinx cultural phenomena that disrupt stereotypes, breathing complexity into real Latinx subjectivities and experiences. In this grand sleuthing sweep of Latinx representation in mainstream TV and film that continues to shape the imagination of U.S. society, these two Latinx pop culture authorities call us all to scholarly action.
Through close readings of the painted images in a major sixteenth-century illustrated manuscript, this book demonstrates the critical role that images played in ethnic identity formation and politics in colonial Mexico.
The Relación de Michoacán (1539–1541) is one of the earliest surviving illustrated manuscripts from colonial Mexico. Commissioned by the Spanish viceroy Antonio de Mendoza, the Relación was produced by a Franciscan friar together with indigenous noble informants and anonymous native artists who created its forty-four illustrations. To this day, the Relación remains the primary source for studying the pre-Columbian practices and history of the people known as Tarascans or P’urhépecha. However, much remains to be said about how the Relación’s colonial setting shaped its final form.
By looking at the Relación in its colonial context, this study reveals how it presented the indigenous collaborators a unique opportunity to shape European perceptions of them while settling conflicting agendas, outshining competing ethnic groups, and carving a place for themselves in the new colonial society. Through archival research and careful visual analysis, Angélica Afanador-Pujol provides a new and fascinating account that situates the manuscript’s images within the colonial conflicts that engulfed the indigenous collaborators. These conflicts ranged from disputes over political posts among indigenous factions to labor and land disputes against Spanish newcomers. Afanador-Pujol explores how these tensions are physically expressed in the manuscript’s production and in its many contradictions between text and images, as well as in numerous emendations to the images. By studying representations of justice, landscape, conquest narratives, and genealogy within the Relación, Afanador-Pujol clearly demonstrates the visual construction of identity, its malleability, and its political possibilities.
Studying a period of German literary history that has been largely ignored by modern readers, Ruth-Ellen Boetcher Joeres demonstrates that these writings offer intriguing opportunities to examine such critical topics as canon formation; the relationship between gender, class, and popular culture; and women, professionalism, and technology. The writers she explores range from Annette von Droste-Hülshoff, who managed to work her way into the German canon, to the popular serial novelist E. Marlitt, from liberal writers such as Louise Otto and Fanny Lewald, to the virtually unknown novelist and journalist Claire von Glümer. Through this investigation, Boetcher Joeres finds ambiguities, compromises, and subversions in these texts that offer an extensive and informative look at the exciting and transformative epoch that so much shaped our own.
See It Now, Edward R. Murrow and Fred W. Friendly’s early documentary television program, has come to be recognized as the exemplar of nonfiction television. One important element in its reputation is a series of four telecasts directly dealing with abuses of McCarthyism and the Red Scare. This book is about those programs, but it is also about the early 1950s in America, the troubled era in which these programs were broadcast. This book is, then, both cultural history and media analysis.
As media analysis, this book seeks to understand the symbolic form, the aesthetic construction, and the subsequent experience that these four programs offered viewers. This sort of critical analysis is a development of recent vintage in American media studies. Whereas a decade ago television and the media were studied largely through an empiricist social scientific paradigm, now humanistic approaches to media discourses engage the interest of scholars in history, rhetoric and communication, political science, anthropology, and American studies. As case study, then, this book bridges classical humanist and contemporary mass media approaches, and as we go, I shall essay the utility of humanistic methods for the understanding and explication of mass media that is primarily visual in nature.
As cultural history, this book seeks to illuminate a unique era in the recent American past. My aim is to understand the programs as articulations of public “common sense” and as artifacts that help convey this common sense. Thus, a second theme of this book will be to locate-through the analysis of public discourse cast in the television documentary form—an American ideology: a set of “templates” that both ground the programs and reveal the cultural assumptions of the historical period.
In addition, from a slightly different historical perspective, our increased understanding of these See It Now broadcasts gives us an appreciation of the development of the television industry and the genre of television documentary. Coming at a time when few Americans had television sets, these See It Now programs coincided with an exponential increase in television ownership and popularity. As an elaborate defense of free speech for the medium, these documentaries may have helped to establish autonomy and a direction for a nascent broadcasting industry. More specifically, as the paradigm for the television documentary and as the first regularly scheduled documentary series, these See It Now programs shaped expectations and set the benchmark to which all nonfiction television, from Twentieth Century to White Paper to Sixty Minutes, has been compared. Thus, a third theme will be the implications of these seminal programs for media institutions and for the genre of television news documentary.
As the first comparative study of how comics artists from a wide range of backgrounds use the form to write and draw themselves into cultural visibility, Serial Selves will be of interest to anyone interested in the current boom in autobiographical comics, as well as issues of representation in comics and visual culture more broadly.
Dismissed by some as simply another new fashion in the critique of culture and by others as a postmarxist heresy, subaltern studies began with the work of Ranajit Guha and the South Asian Subaltern Studies collective in the 1980s. Beverley’s focus on Latin America, however, is evidence of the growing province of this field. In assessing subaltern studies’ purposes and methods, the potential dangers it presents, and its interactions with deconstruction, poststructuralism, cultural studies, Marxism, and political theory, Beverley builds his discussion around a single, provocative question: How can academic knowledge seek to represent the subaltern when that knowledge is itself implicated in the practices that construct the subaltern as such? In his search for answers, he grapples with a number of issues, notably the 1998 debate between David Stoll and Rigoberta Menchú over her award-winning testimonial narrative, I, Rigoberta Menchú. Other topics explored include the concept of civil society, Florencia Mallon’s influential Peasant and Nation, the relationship between the Latin American “lettered city” and the Túpac Amaru rebellion of 1780–1783, the ideas of transculturation and hybridity in postcolonial studies and Latin American cultural studies, multiculturalism, and the relationship between populism, popular culture, and the “national-popular” in conditions of globalization.
This critique and defense of subaltern studies offers a compendium of insights into a new form of knowledge and knowledge production. It will interest those studying postcolonialism, political science, cultural studies, and Latin American culture, history, and literature.
Montrose offers a masterful account of the texts, pictures, and performances in which the Queen was represented to her people, to her court, to foreign powers, and to Elizabeth herself. Retrieving this “Elizabethan imaginary” in all its richness and fascination, Montrose presents a sweeping new account of Elizabethan political culture. Along the way, he explores the representation of Elizabeth within the traditions of Tudor dynastic portraiture; explains the symbolic manipulation of Elizabeth’s body by both supporters and enemies of her regime; and considers how Elizabeth’s advancing age provided new occasions for misogynistic subversions of her royal charisma.
This book, the remarkable product of two decades of study by one of our most respected Renaissance scholars, will be welcomed by all historians, literary scholars, and art historians of the period.
William Scott’s Troublemakers explores how a major change in the nature and forms of working-class power affected novels about U.S. industrial workers in the first half of the twentieth century. With the rise of mechanization and assembly-line labor from the 1890s to the 1930s, these laborers found that they had been transformed into a class of “mass” workers who, since that time, have been seen alternately as powerless, degraded victims or heroic, empowered icons who could rise above their oppression only through the help of representative organizations located outside the workplace.
Analyzing portrayals of workers in such novels as Upton Sinclair’s The Jungle, Ruth McKenney's Industrial Valley, and Jack London’s The Iron Heel, William Scott moves beyond narrow depictions of these laborers to show their ability to resist exploitation through their direct actions—sit-down strikes, sabotage, and other spontaneous acts of rank-and-file “troublemaking” on the job—often carried out independently of union leadership. The novel of the mass industrial worker invites us to rethink our understanding of modern forms of representation through its attempts to imagine and depict workers’ agency in an environment where it appears to be completely suppressed.
Can democratization be promoted by “getting the institutions right?” In Unexpected Outcomes, Robert G. Moser offers a compelling analysis of the extent to which institutions can be engineered to promote desired political outcomes. The introduction of democracy in Eastern Europe and the former USSR has enabled scholars to bring new perspectives to the debate about electoral systems. Russia is arguably the most important of the postcommunist states and its mixed electoral system provides an interesting controlled experiment for testing the impact of different electoral systems.
Moser examines the effects of electoral systems on political parties and representation in Russia during the 1990s. Moser’s study is not only a highly original contribution to our understanding of contemporary Russian politics, but also a significant step forward in the comparative study of electoral systems. Through his comprehensive empirical analysis of Russian elections, Moser provides the most detailed examination of a mixed electoral system to date. This system was introduced in Russia to encourage party formation and benefit reformist parties allied with President Yeltsin. However, the effects were contrary to what the creators of the system expected and also defied the most well-established hypotheses in electoral studies. Parties proliferated under both the PR and plurality halves of the election and patterns of women and minority representation ran counter to prevailing theory and international experience.
With an epilogue that updates the study through the December 1999 elections, Unexpected Outcomes makes an important and timely contribution to the ongoing debate over the ability and inability of elites to fashion preferred political outcomes through institutional design.
This book mounts a sustained attack on ideas that are dear to many practitioners of analytic philosophy. Charles Travis targets the seductive illusion that—in Wittgenstein’s terms—“if anyone utters a sentence and means or understands it, he is operating a calculus according to definite rules.” This book rejects the idea that thoughts are essentially representational items whose content is independent of context. In doing so, it undermines the foundations of much contemporary philosophy of mind.
Travis’s main argument in Unshadowed Thought is that linguistic expressions and forms are occasion-sensitive; they cannot be abstracted out of a concrete context. With compelling examples and a thoroughgoing scrutiny of opposing positions, his book systematically works out the implications of the work of J. L. Austin, Hilary Putnam, and John McDowell. Eloquently insisting that there is no particular way one must structure what one relates to, no one way one must represent it, Unshadowed Thought identifies and resists a certain strain of semantic Platonism that permeates current philosophy—a strain that has had profoundly troubling consequences for our ideas about attitudes and beliefs and for our views about what language might be.
A cultural history of the South Bronx that reaches beyond familiar narratives of urban ruin and renaissance, beyond the “inner city” symbol, to reveal the place and people obscured by its myths.
For decades, the South Bronx was America’s “inner city.” Synonymous with civic neglect, crime, and metropolitan decay, the Bronx became the preeminent symbol used to proclaim the failings of urban places and the communities of color who lived in them. Images of its ruins—none more infamous than the one broadcast live during the 1977 World Series: a building burning near Yankee Stadium—proclaimed the failures of urbanism.
Yet this same South Bronx produced hip hop, arguably the most powerful artistic and cultural innovation of the past fifty years. Two narratives—urban crisis and cultural renaissance—have dominated understandings of the Bronx and other urban environments. Today, as gentrification transforms American cities economically and demographically, the twin narratives structure our thinking about urban life.
A Bronx native, Peter L’Official draws on literature and the visual arts to recapture the history, people, and place beyond its myths and legends. Both fact and symbol, the Bronx was not a decades-long funeral pyre, nor was hip hop its lone cultural contribution. L’Official juxtaposes the artist Gordon Matta-Clark’s carvings of abandoned buildings with the city’s trompe l’oeil decals program; examines the centrality of the Bronx’s infamous Charlotte Street to two Hollywood films; offers original readings of novels by Don DeLillo and Tom Wolfe; and charts the emergence of a “global Bronx” as graffiti was brought into galleries and exhibited internationally, promoting a symbolic Bronx abroad.
Urban Legends presents a new cultural history of what it meant to live, work, and create in the Bronx.
Susan Welch and Timothy Bledsoe clarify a portion of the debate by investigating how election structures affect candidates and the nature of representation. They examine the different effects of district versus at-large elections and of partisan versus nonpartisan elections. Who gets elected? Are representatives' socioeconomic status and party affiliation related to election form? Are election structures related to how those who are elected approach their jobs? Do they see themselves as representatives concerned with the good of the city as a whole?
Urban Reform and Its Consequences reports an unprecedented wealth of data drawn from a sample of nearly 1,000 council members and communities with populations between 50,000 and 1 million across 42 states. The sample includes communities that use a variety of election procedures. This study is therefore the most comprehensive and accurate to date.
Welch and Bledsoe conclude that nonpartisan and at-large elections do give city councils a more middle- and upper-middle-class character and have changed the way representatives view their jobs. Reform measures have not, however, produced councils that are significantly more conservative or more prone to conflict. Overall, the authors conclude that partisan and district elections are more likely to represent the whole community and to make the council more accountable to the electorate.
An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire.
By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas.
These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.
A fine-grained ethnography exploring the sociopolitical power of Kurdish women’s voices in contemporary Turkey.
“Raise your voice!” and “Speak up!” are familiar refrains that assume, all too easily, that gaining voice will lead to empowerment, healing, and inclusion for marginalized subjects. Marlene Schäfers’s Voices That Matter reveals where such assumptions fall short, demonstrating that “raising one’s voice” is no straightforward path to emancipation but fraught with anxieties, dilemmas, and contradictions. In its attention to the voice as form, this book examines not only what voices say but also how they do so, focusing on Kurdish contexts where oral genres have a long, rich legacy. Examining the social labor that voices carry out as they sound, speak, and resonate, Schäfers shows that where new vocal practices arise, they produce new selves and practices of social relations. In Turkey, recent decades have seen Kurdish voices gain increasing moral and political value as metaphors of representation and resistance. Women’s voices, in particular, are understood as potent means to withstand patriarchal restrictions and political oppression. By ethnographically tracing the transformations in how Kurdish women relate to and employ their voices as a result of these shifts, Schäfers illustrates how contemporary politics foster not only new hopes and desires but also create novel vulnerabilities as they valorize, elicit, and discipline voice in the name of empowerment and liberation.
These essayists aim to move past the notion that the Holocaust as an event defies representation. They look at specific cases of Holocaust representation and consider their effect, their structure, their authenticity, and the kind of knowledge they produce. Taken together they consider the tension between history and memory, the vexed problem of eyewitness testimony and its status as evidence, and the ethical imperatives of Holocaust representation.
In Victorian England, virtually all women were taught to sew; needlework was allied with images of domestic economy and with traditional female roles of wife and mother- with home rather than factory. The professional seamstress, however, labored long hours for very small wages creating gowns for the upper and middle classes. In her isolation and helplessness, she provided social reformers with a powerful image of working-class suffering that appealed to the sensibilities of the upper classes and helped galvanize public opinion around the need for reform.
Women, Work, and Representation addresses the use of that image in the reform movement, underscoring the shock to the Victorian public when reports revealed that the profession of needlework was extremely hazardous, even deadly.
Author Lynn M. Alexander traces the development of the symbol of the seamstress through a variety of presentations, drawing from the writings of Charles Dickens, Elizabeth Gaskell, Charlotte Elizabeth Tonna, and George W. M. Reynolds, and on visual representations by Richard Redgrave, Thomas Benjamin Kennington, John Everett Millais, John Leech, John Tenniel, and Hubert von Herkomer.
Written to appeal to Victorian scholars, women's studies scholars, and those interested in semiotics and aestheticism, Women, Work, and Representation includes twenty illustrations, most from periodicals of the day, providing new insights into the lives of working women throughout the Victorian era.
Works councils—institutionalized bodies for representative communication between an employer and employees in a single workplace—are rare in the Anglo-American world, but are well-established in other industrialized countries. The contributors to this volume survey the history, structure, and functions of works councils in the Netherlands, Germany, France, Spain, Sweden, Italy, Poland, Canada, and the United States. Special attention is paid to the relations between works councils and unions and collective bargaining, works councils and management, and the role and interest of governments in works councils. On the basis of extensive comparative data from other Western countries, the book demonstrates powerfully that well-designed works councils may be more effective than labor unions at solving management-labor problems.
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