Search results for ""University of Texas Press""

Celebrity culture today teems with stars who challenge long-held ideas about a “normal” body. Plus-size and older actresses are rebelling against the cultural obsession with slender bodies and youth. Physically disabled actors and actresses are moving beyond the stock roles and stereotypes that once constrained their opportunities. Stars of various races and ethnicities are crafting new narratives about cultural belonging, while transgender performers are challenging our culture’s assumptions about gender and identity. But do these new players in contemporary entertainment media truly signal a new acceptance of body diversity in popular culture?Focusing on six key examples—Melissa McCarthy, Gabourey Sidibe, Peter Dinklage, Danny Trejo, Betty White, and Laverne Cox—Rebellious Bodies examines the new body politics of stardom, situating each star against a prominent cultural anxiety about bodies and inclusion, evoking issues ranging from the obesity epidemic and the rise of postracial rhetoric to disability rights, Latino/a immigration, an aging population, and transgender activism. Using a wide variety of sources featuring these celebrities—films, TV shows, entertainment journalism, and more—to analyze each one’s media persona, Russell Meeuf demonstrates that while these stars are promoted as examples of a supposedly more inclusive industry, the reality is far more complex. Revealing how their bodies have become sites for negotiating the still-contested boundaries of cultural citizenship, he uncovers the stark limitations of inclusion in a deeply unequal world.

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In 1992, at the end of a twelve-year civil war, El Salvador was poised for a transition to democracy. Yet, after longstanding dominance by a small oligarchy that continually used violence to repress popular resistance, El Salvador’s democracy has proven to be a fragile one, as social ills (poverty chief among them) have given rise to neighborhoods where gang activity now thrives. Mano Dura examines the ways in which the ruling ARENA party used gang violence to solidify political power in the hands of the elite—culminating in draconian “iron fist” antigang policies that undermine human rights while ultimately doing little to address the roots of gang membership.Drawing on extensive ethnographic fieldwork and policy analysis, Mano Dura examines the activities of three nongovernmental organizations (NGOs) that have advocated for more nuanced policies to eradicate gangs and the societal issues that are both a cause and an effect of gang proliferation. While other studies of street gangs have focused on relatively distant countries such as Colombia, Argentina, and Jamaica, Sonja Wolf’s research takes us to a country closer to the United States, where forced deportation has brought with it US gang culture. Charting the limited success of NGOs in influencing El Salvador’s security policies, the book brings to light key contextual aspects—including myopic media coverage and the ironic populist support for ARENA, despite the party’s protection of the elite at the expense of the greater society.

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Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault’s Yellow Kid, Winsor McCay’s Little Nemo, and Harold Gray’s Little Orphan Annie to Hergé’s Tintin (Belgium), José Escobar’s Zipi and Zape (Spain), and Wilhelm Busch’s Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children’s lives and the sometimes challenging realities that surround them.Bringing together comic studies and childhood studies, this pioneering collection of essays provides the first wide-ranging account of how children and childhood, as well as the larger cultural forces behind their representations, have been depicted in comics from the 1930s to the present. The authors address issues such as how comics reflect a spectrum of cultural values concerning children, sometimes even resisting dominant cultural constructions of childhood; how sensitive social issues, such as racial discrimination or the construction and enforcement of gender roles, can be explored in comics through the use of child characters; and the ways in which comics use children as metaphors for other issues or concerns. Specific topics discussed in the book include diversity and inclusiveness in Little Audrey comics of the 1950s and 1960s, the fetishization of adolescent girls in Japanese manga, the use of children to build national unity in Finnish wartime comics, and how the animal/child hybrids in Sweet Tooth act as a metaphor for commodification.

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“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel.Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.

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The World Health Organization is currently promoting a policy of replacing traditional or lay midwives in countries around the world. As part of an effort to record the knowledge of local midwives before it is lost, Midwives and Mothers explores birth, illness, death, and survival on a Guatemalan sugar and coffee plantation, or finca, through the lives of two local midwives, Doña Maria and her daughter Doña Siriaca, and the women they have served over a forty-year period.By comparing the practices and beliefs of the mother and daughter, Sheila Cosminsky shows the dynamics of the medicalization process and the contestation between the midwives and biomedical personnel, as the latter try to impose their system as the authoritative one. She discusses how the midwives syncretize, integrate, or reject elements from Mayan, Spanish, and biomedical systems. The midwives’ story becomes a lens for understanding the impact of medicalization on people’s lives and the ways in which women’s bodies have become contested terrain between traditional and contemporary medical practices. Cosminsky also makes recommendations for how ethno-obstetric and biomedical systems may be accommodated, articulated, or integrated. Finally, she places the changes in the birthing system in the larger context of changes in the plantation system, including the elimination of coffee growing, which has made women, traditionally the primary harvesters of coffee beans, more economically dependent on men.

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Once known as a “drug capital” and associated with kidnappings, violence, and excess, Bogotá, Colombia, has undergone a transformation that some have termed “the miracle of Bogotá.” Beginning in the late 1980s, the city emerged from a long period of political and social instability to become an unexpected model of urban development through the redesign and revitalization of the public realm—parks, transportation, and derelict spaces—under the leadership of two “public space mayors,” Antanas Mockus and Enrique Peñalosa (the latter reelected in 2015). In Learning from Bogotá, Rachel Berney analyzes how these mayors worked to reconfigure the troubled city into a pedagogical one whose public spaces and urban policy have helped shape a more tolerant and aware citizenry.Berney examines the contributions of Mockus and Peñalosa through the lenses of both spatial/urban design and the city’s history. She shows how, through the careful intertwining of new public space and transportation projects, the reclamation of privatized public space, and the refurbishment of dilapidated open spaces, the mayors enacted an ambitious urban vision for Bogotá without resorting to the failed method of the top-down city master plan. Illuminating the complex interplay between formal politics, urban planning, and improvised social strategies, as well as the negative consequences that accompanied Bogotá’s metamorphosis, Learning from Bogotá offers significant lessons about the possibility for positive and lasting change in cities around the world.

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When Theatre for Youth: Twelve Plays with Mature Themes was published in 1986, it met a need for plays that could help young people deal with some of the more difficult realities of life. Responding to the sweeping changes in society over the succeeding thirty years, Coleman A. Jennings and Gretta Berghammer have assembled a new collection of plays that reflects not only on themes such as aging, death and dying, friendship, courage, conformity, maturation, sexuality, and struggles with moral judgment but also on gender identity, poverty, diversity, and discrimination.Theatre for Youth II: More Plays with Mature Themes presents twelve plays, nine of them new to this anthology, that offer a rich variety of original stories (The Tomato Plant Girl, The Arkansaw Bear, Super Cowgirl and Mighty Miracle), compelling adaptations (The Afternoon of the Elves, Broken Hearts, Courage!), historical drama (Mother Hicks, Johnny Tremain), diverse themes (La Ofrenda, The Transition of Doodle Pequeño), friendship (The Selfish Giant), and future societies (With Two Wings). As these plays explore some of the most challenging themes for today’s youth, including the difficulties of single parenthood, divorce, race relations, sexuality, and gender discrimination, they share messages fundamental to us all: open your imagination and dare to dream; embrace life; honor your personal passion, beliefs, and creativity; take a risk; and love with all your heart.

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Bridging print culture and performance, Spectacular Wealth draws on eighteenth-century festival accounts to explore how colonial residents of the silver-mining town of Potosí, in the viceroyalty of Peru, and the gold-mining region of Minas Gerais, in Brazil, created rich festive cultures that refuted European allegations of barbarism and greed. In her examination of the festive participation of the towns’ diverse inhabitants, including those whose forced or slave labor produced the colonies’ mineral wealth, Lisa Voigt shows how Amerindians, Afro-descendants, Europeans, and creoles displayed their social capital and cultural practices in spectacular performances.Tracing the multiple meanings and messages of civic festivals and religious feast days alike, Spectacular Wealth highlights the conflicting agendas at work in the organization, performance, and publication of festivals. Celebrants and writers in mining boomtowns presented themselves as far more than tributaries yielding mineral wealth to the Spanish and Portuguese empires, using festivals to redefine their reputations and to celebrate their cultural, spiritual, and intellectual wealth.

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“On Story is film school in a box, a lifetime’s worth of filmmaking knowledge squeezed into half-hour packages.” —Kenneth Turan, film critic for the Los Angeles TimesAustin Film Festival (AFF) is the first organization focused on the writer’s creative contribution to film. Its annual Film Festival and Conference offers screenings, panels, workshops, and roundtable discussions that help new writers and filmmakers connect with mentors and gain advice and insight from masters, as well as refreshing veterans with new ideas. To extend the festival’s reach, AFF produces On Story, a television series currently airing on PBS-affiliated stations and streaming online that presents footage of high-caliber artists talking candidly and provocatively about the art and craft of screenwriting and filmmaking, often using examples from their own films.On Story—Screenwriters and Filmmakers on Their Iconic Films presents renowned, award-winning screenwriters and filmmakers discussing their careers and the stories behind the production of their iconic films such as L.A. Confidential, Thelma & Louise, Groundhog Day, Guardians of the Galaxy, The Silence of the Lambs, In the Name of the Father, Apollo 13, and more. In their own lively words transcribed from interviews and panel discussions, Ron Howard, Callie Khouri, Jonathan Demme, Ted Tally, Jenny Lumet, Harold Ramis, and others talk about creating stories that resonate with one’s life experiences or topical social issues, as well as how to create appealing characters and bring them to life. Their insights, production tales, and fresh, practical, and proven advice make this book ideal for film lovers, screenwriting students, and filmmakers and screenwriters seeking inspiration.

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Bringing to life the stories of political teatristas, feminists, gunrunners, labor organizers, poets, journalists, ex-prisoners, and other revolutionaries, The Revolutionary Imaginations of Greater Mexico examines the inspiration Chicanas/os found in social movements in Mexico and Latin America from 1971 to 1979. Drawing on fifteen years of interviews and archival research, including examinations of declassified government documents from Mexico, this study uncovers encounters between activists and artists across borders while sharing a socialist-oriented, anticapitalist vision. In discussions ranging from the Nuevo Teatro Popular movement across Latin America to the Revolutionary Proletariat Party of America in Mexico and the Peronista Youth organizers in Argentina, Alan Eladio Gómez brings to light the transnational nature of leftist organizing by people of Mexican descent in the United States, tracing an array of festivals, assemblies, labor strikes, clandestine organizations, and public protests linked to an international movement of solidarity against imperialism.Taking its title from the “greater Mexico” designation used by Américo Paredes to describe the present and historical movement of Mexicans, Mexican Americans, and Chicanas/os back and forth across the US-Mexico border, this book analyzes the radical creativity and global justice that animated “Greater Mexico” leftists during a pivotal decade. While not all the participants were of one mind politically or personally, they nonetheless shared an international solidarity that was enacted in local arenas, giving voice to a political and cultural imaginary that circulated throughout a broad geographic terrain while forging multifaceted identities. The epilogue considers the politics of going beyond solidarity.

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Thanks to its size and geographic position, Texas is home to nearly 30,000 species of insects, likely making its insect population the most diverse in the nation. Ranging from eastern and western to temperate and tropical species, this vast array of insects can be difficult to identify. In Common Insects of Texas and Surrounding States, John and Kendra Abbott have created the state's most comprehensive field guide to help readers recognize and understand these fascinating creatures.Containing 1,300 species and more than 2,700 photographs, this guide offers a wealth of information about the characteristics and behaviors of Texas's insects. Each chapter introduces an order with a discussion of general natural history and a description of other qualities helpful in distinguishing its various species, while every species' entry provides a state map showing where it is most likely to be found, a key displaying its seasonal distribution, information about its habitat, and corresponding photos. Featuring colored tabs for quick reference, a glossary, and information about other arthropods, this guide is the perfect companion for anyone wanting to identify and learn more about the many insects of Texas.

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Thousands of ordinary people in Israel and Palestine have engaged in a dazzling array of daring and visionary joint nonviolent initiatives for more than a century. They have endured despite condemnation by their own societies, repetitive failures of diplomacy, harsh inequalities, and endemic cycles of violence.Connecting with the Enemy presents the first comprehensive history of unprecedented grassroots efforts to forge nonviolent alternatives to the lethal collision of the two national movements. Bringing to light the work of over five hundred groups, Sheila H. Katz describes how Arabs and Jews, children and elders, artists and activists, educators and students, garage mechanics and physicists, and lawyers and prisoners have spoken truth to power, protected the environment, demonstrated peacefully, mourned together, stood in resistance and solidarity, and advocated for justice and security. She also critiques and assesses the significance of their work and explores why these good-will efforts have not yet managed to end the conflict or occupation. This previously untold story of Palestinian-Israeli joint nonviolence will challenge the mainstream narratives of terror and despair, monsters and heroes, that help to perpetuate the conflict. It will also inspire and encourage anyone grappling with social change, peace and war, oppression and inequality, and grassroots activism anywhere in the world.

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In Maya theology, everything from humans and crops to gods and the world itself passes through endless cycles of birth, maturation, dissolution, death, and rebirth. Traditional Maya believe that human beings perpetuate this cycle through ritual offerings and ceremonies that have the power to rebirth the world at critical points during the calendar year. The most elaborate ceremonies take place during Semana Santa (Holy Week), the days preceding Easter on the Christian calendar, during which traditionalist Maya replicate many of the most important world-renewing rituals that their ancient ancestors practiced at the end of the calendar year in anticipation of the New Year’s rites.Marshaling a wealth of evidence from Pre-Columbian texts, early colonial Spanish writings, and decades of fieldwork with present-day Maya, The Burden of the Ancients presents a masterfully detailed account of world-renewing ceremonies that spans the Pre-Columbian era through the crisis of the Conquest period and the subsequent colonial occupation all the way to the present. Allen J. Christenson focuses on Santiago Atitlán, a Tz’utujil Maya community in highland Guatemala, and offers the first systematic analysis of how the Maya preserved important elements of their ancient world renewal ceremonies by adopting similar elements of Roman Catholic observances and infusing them with traditional Maya meanings. His extensive description of Holy Week in Santiago Atitlán demonstrates that the community’s contemporary ritual practices and mythic stories bear a remarkable resemblance to similar cultural entities from its Pre-Columbian past.

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A unique contribution to film studies, Richard Gordon’s Cinema, Slavery, and Brazilian Nationalism is the first full-length book on Brazilian films about slavery. By studying Brazilian films released between 1976 and 2005, Gordon examines how the films both define the national community and influence viewer understandings of Brazilianness. Though the films he examines span decades, they all communicate their revised version of Brazilian national identity through a cinematic strategy with a dual aim: to upset ingrained ways of thinking about Brazil and to persuade those who watch the films to accept a new way of understanding their national community.By examining patterns in this heterogeneous group of films, Gordon proposes a new way of delineating how these films attempt to communicate with and change the minds of audience members. Gordon outlines five key aspects that each film incorporates, which describe their shared formula for and role in constructing social identity. These elements include the ways in which the films attempt to create links between the past and the viewers’ present and their methods of encouraging viewers to identify with their protagonists, who are often cast as a prototype for the nation. By aligning themselves with this figure, viewers arrive at a definition of their national identity that, while Afrocentric, also promotes racial and ethnic inclusiveness. Gordon’s innovative analysis transcends the context of his work, and his conclusions can be applied to questions of national identity and film across cultures.

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Highlighting globalization’s effects on humanity through the lens of Ecuador’s indigenous Saraguro people, With the Saraguros marks a compelling departure from conventional approaches to ethnography. While documenting and exploring the social patterns among the Saraguro, with an emphasis on the role of women beadworkers, David Syring blends storytelling, dialogue, poetry, and memoir to describe his own realm as a fieldworker in anthropology. As he considers the influence of women’s labor in a community in which the artistry of beadwork is richly symbolic, he also considers how the Saraguro view their observers—the anthropologists.Probing the role of researchers in a time when basic humanistic questions now often reflect a critical balance between commerce and sustainability, With the Saraguros asks, “What does it mean to live ‘the good life’ in different cultural contexts, and how does our work life relate to this pursuit?” For those who have chosen a work life of anthropology, Syring captures the impact of fieldwork—which uproots the researcher from his or her daily routine—and its potential to deliver new levels of consciousness. The result constitutes more than just the first English-language book dedicated to the dynamic creativity of the Saraguro, contextualized by their social and political history; Syring’s work, which ranges from the ecological imagination to the metaphors of trade, is also a profound meditation on the ways we experience boundaries now that borders no longer create sharply drawn divides between cultural worlds, and “distant” no longer means “separate.”

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One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography’s contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.

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Mainstream narratives of the graphic novel’s development describe the form’s “coming of age,” its maturation from pulp infancy to literary adulthood. In Arresting Development, Christopher Pizzino questions these established narratives, arguing that the medium’s history of censorship and marginalization endures in the minds of its present-day readers and, crucially, its authors. Comics and their writers remain burdened by the stigma of literary illegitimacy and the struggles for status that marked their earlier history.Many graphic novelists are intensely aware of both the medium’s troubled past and their own tenuous status in contemporary culture. Arresting Development presents case studies of four key works—Frank Miller’s Batman: The Dark Knight Returns, Alison Bechdel’s Fun Home, Charles Burns’s Black Hole, and Gilbert Hernandez’s Love and Rockets—exploring how their authors engage the problem of comics’ cultural standing. Pizzino illuminates the separation of high and low culture, art and pulp, and sophisticated appreciation and vulgar consumption as continual influences that determine the limits of literature, the status of readers, and the value of the very act of reading.

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This English-Hebrew book features three dozen poems by the extraordinary Israeli writer Orit Gidali (b. 1974), a unique voice among her contemporaries. Gidali’s work appears to focus on the domestic, but for her, the domestic sphere is the stage on which the drama of the geopolitical is reworked on an individual scale. The domestic is always inhabited by the Other, who in these deeply personal poems appears in various guises: a Palestinian mother, biblical figures, the poet’s own deceased mother, and her husband’s first wife. Gidali creates a space in her world to imaginatively reconfigure the current political impasses of the region through a focus on relationship and openness.Gidali’s poems, beautifully captured in English by Marcela Sulak, present a world beset by danger and uncertainty, yet they nonetheless cry out for community, connection, cooperation, and coexistence.

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"Sarah Bird is a true eccentric, but one with a straightforward gift for explaining the human heart. . . . A Lone Star girl-legend." —Boston GlobeWhat is it that distinguishes Texas women—the famous Yellow Rose and her descendants? Is it that combination of graciousness and grit that we revere in First Ladies Laura Bush and Lady Bird Johnson? The rapier-sharp wit that Ann Richards and Molly Ivins used to skewer the good ole boy establishment? The moral righteousness with which Barbara Jordan defended the US constitution? An unnatural fondness for Dr Pepper and queso?In her inimitable style, Sarah Bird pays tribute to the Texas Woman in all her glory and all her contradictions. She humorously recalls her own early bewildered attempts to understand Lone Star gals, from the big-haired, perfectly made-up ladies at the Hyde Park Beauty Salon to her intellectual, quinoa-eating roommates at Seneca House Co-op for Graduate Women. After decades of observing Texas women, Bird knows the species as few others do. A Love Letter to Texas Women is a must-have guide for newcomers to the state and the ideal gift to tell any Yellow Rose how special she is.

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“Another fine, reflective, anecdotal look at rural Texas.” —New Yorker“Graves writes eloquently about a countryman’s concerns. There's not a false note in the book.” —Boston Globe“Like the unmortared stone fences of Graves’s native hill country, From a Limestone Ledge is constructed of bits and pieces never designed to fit together, yet made to achieve a unity that is more enduring than the sum of its individual parts by the hands of a master craftsman.” —Southwestern Historical Quarterly“The beauty of his work endures, and there is a greater pride in Texans’ hearts for their home, I think, than there would be if he hadn’t written the books he did.” —Rick Bass, Garden & Gun“In describing the particulars of his surroundings, Graves often was describing the world in microcosm and the place and plight of humankind in it.” —Bryan Woolley, Dallas Morning News

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From food products to fashions and cosmetics to children’s toys, a wide range of commodities today are being marketed as “halal” (permitted, lawful) or “Islamic” to Muslim consumers both in the West and in Muslim-majority nations. However, many of these products are not authentically Islamic or halal, and their producers have not necessarily created them to honor religious practice or sentiment. Instead, most “halal” commodities are profit-driven, and they exploit the rise of a new Islamic economic paradigm, “Brand Islam,” as a clever marketing tool.Brand Islam investigates the rise of this highly lucrative marketing strategy and the resulting growth in consumer loyalty to goods and services identified as Islamic. Faegheh Shirazi explores the reasons why consumers buy Islam-branded products, including conspicuous piety or a longing to identify with a larger Muslim community, especially for those Muslims who live in Western countries, and how this phenomenon is affecting the religious, cultural, and economic lives of Muslim consumers. She demonstrates that Brand Islam has actually enabled a new type of global networking, joining product and service sectors together in a huge conglomerate that some are referring to as the Interland. A timely and original contribution to Muslim cultural studies, Brand Islam reveals how and why the growth of consumerism, global communications, and the Westernization of many Islamic countries are all driving the commercialization of Islam.

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Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim.With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

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Chicana/o history has reached an intriguing juncture. While academic and intellectual studies are embracing new, highly nuanced perspectives on race, class, gender, education, identity, and community, the field itself continues to be viewed as a battleground, subject to attacks from outside academia by those who claim that the discipline promotes racial hatred and anti-Americanism. Against a backdrop of deportations and voter suppression targeting Latinos, A Promising Problem presents the optimistic voices of scholars who call for sophisticated solutions while embracing transnationalism and the reality of multiple, overlapping identities.Showcasing a variety of new directions, this anthology spans topics such as growth and reassessment in Chicana/o history manifested in a disruption of nationalism and geographic essentialism, the impact of legal history, interracial relations and the experiences of Latino subpopulations in the US South, race and the politics of religious history, transborder feminism in the early twentieth century, and aspirations for a field that increasingly demonstrates the relational dynamics of cultural production. As they reflect on the state of their field, the contributors offer significant insights into sociology, psychology, anthropology, political science, education, and literature, while tracing the history of activism throughout the last century and debating the very concepts of “Chicano” and “Chicano history.” Although the political landscape is fraught with closed-off rhetoric, A Promising Problem encourages diversity of thought and opens the possibilities of historical imagination.

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Today the United States leads the world in incarceration rates. The country increasingly relies on the prison system as a “fix” for the regulation of societal issues. Captivity Beyond Prisons is the first full-length book to explicitly link prisons and incarceration to the criminalization of Latina (im)migrants.Starting in the 1990s, the United States saw tremendous expansion in the number of imprisoned (im)migrants, specifically Latinas/os. Consequently, there was also an increase in the number of deportations. In addition to regulating society, prisons also serve as a reproductive control strategy, both in preventing female inmates from having children and by separating them from their families. With an eye to racialized and gendered technologies of power, Escobar argues that incarcerated Latinas are especially depicted as socially irrecuperable because they are not considered useful within the neoliberal labor market. This perception impacts how they are criminalized, which is not limited to incarceration but also extends to and affects Latina (im)migrants’ everyday lives. Escobar also explores the relationship between the immigrant rights movement and the prison abolition movement, scrutinizing a variety of social institutions working on solutions to social problems that lead to imprisonment.Accessible to both academics and those in the justice and social service sectors, Escobar’s book pushes readers to consider how, even in radical spaces, unequal power relations can be reproduced by the very entities that attempt to undo them.

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Borderlands migration has been the subject of considerable study, but the authorship has usually reflected a north-of-the-border perspective only. Gathering a transnational group of prominent researchers, including leading Mexican scholars whose work is not readily available in the United States and academics from US universities, Mexican Migration to the United States brings together an array of often-overlooked viewpoints, reflecting the interconnectedness of immigration policy.This collection’s research, principally empirical, reveals significant aspects of labor markets, family life, and educational processes. Presenting recent data and accessible explanations of complex histories, the essays capture the evolving legal frameworks and economic implications of Mexico-US migrations at the national and municipal levels, as well as the experiences of receiving communities in the United States. The volume includes illuminating reports on populations ranging from undocumented young adults to elite Mexican women immigrants, health-care rights, Mexico’s incorporation of return migration, the impact of Deferred Action for Childhood Arrivals on higher education, and the experiences of young children returning to Mexican schools after living in the United States. Reflecting a multidisciplinary approach, the list of contributors includes anthropologists, demographers, economists, educators, policy analysts, and sociologists.Underscoring the fact that Mexican migration to the United States is unique and complex, this timely work exemplifies the cross-border collaboration crucial to the development of immigration policies that serve people in both countries.

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With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture.The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.

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Featuring new and revised recipes, photos, and bêtes noires, this culminating book of an illustrious career presents the favorite dishes and personal stories of the world’s foremost authority on traditional Mexican cooking and one of its most-celebrated food writersDiana Kennedy is the world’s preeminent authority on authentic Mexican cooking and one of its best-known food writers. Renowned for her uncompromising insistence on using the correct local ingredients and preparation techniques, she has taught generations of cooks how to prepare traditional dishes from the villages of Mexico, and in doing so, has documented and helped preserve the country’s amazingly diverse and rich foodways. Kennedy’s own meals for guests are often Mexican, but she also indulges herself and close friends with the nostalgic foods in Nothing Fancy.This acclaimed cookbook—now expanded with new and revised recipes, additional commentary, photos, and reminiscences—reveals Kennedy’s passion for simpler, soul-satisfying food, from the favorite dishes of her British childhood (including a technique for making clotted cream that actually works) to rare recipes from Ukraine, Norway, France, and other outposts. In her inimitable style, Kennedy discusses her addictions—everything from good butter, cream, and lard to cold-smoked salmon, Seville orange marmalade, black truffle shavings, escamoles (ant eggs), and proper croissants—as well as her bêtes noires—kosher salt, nonfat dairy products, cassia “cinnamon,” botoxed turkeys, and nonstick pans and baking sprays, among them. And look out for the ire she unleashes on “cookbookese,” genetically modified foods, plastic, and unecological kitchen practices! The culminating work of an illustrious career, Nothing Fancy is an irreplaceable opportunity to spend time in the kitchen with Diana Kennedy, listening to the stories she has collected and making the food she has loved over a long lifetime of cooking.

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Widespread human alteration of the planet has led many scholars to claim that we have entered a new epoch in geological time: the Anthropocene, an age dominated by humanity. This ethnography is the first to directly engage the Anthropocene, tackling its problems and paradoxes from the vantage point of the world’s largest tropical rainforest.Drawing from extensive ethnographic research, Nicholas Kawa examines how pre-Columbian Amerindians and contemporary rural Amazonians have shaped their environment, describing in vivid detail their use and management of the region’s soils, plants, and forests. At the same time, he highlights the ways in which the Amazonian environment resists human manipulation and control—a vital reminder in this time of perceived human dominance. Written in engaging, accessible prose, Amazonia in the Anthropocene offers an innovative contribution to debates about humanity’s place on the planet, encouraging deeper ecocentric thinking and a more inclusive vision of ecology for the future.

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Significant scholarship exists on anthropological fieldwork and methodologies. Some anthropologists have also published memoirs of their research experiences. Renowned anthropologist Jeffrey Cohen’s Eating Soup without a Spoon is a first-of-its-kind hybrid of the two, expertly melding story with methodology to create a compelling narrative of fieldwork that is deeply grounded in anthropological theory.Cohen’s first foray into fieldwork was in 1992, when he lived in Santa Anna del Valle in rural Oaxaca, Mexico. While recounting his experiences studying how rural folks adapted to far-reaching economic changes, Cohen is candid about the mistakes he made and the struggles in the village. From the pressures of gaining the trust of a population to the fear of making errors in data collection, Cohen explores the intellectual processes behind ethnographic research. He offers tips for collecting data, avoiding pitfalls, and embracing the chaos and shocks that come with working in an unfamiliar environment. Cohen’s own photographs enrich his vivid portrayals of daily life.In this groundbreaking work, Cohen discusses the adventure, wonder, community, and friendships he encountered during his first year of work, but, first and foremost, he writes in service to the field as a place to do research: to test ideas, develop theories, and model how humans cope and react to the world.

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The founding of la Villa Rica de la Veracruz (the rich town of the True Cross) is prominently mentioned in histories of the conquest of Mexico, but scant primary documentation of the provocative act exists. During a research session at the Spanish archives, when John Schwaller discovered an early-sixteenth-century letter from Veracruz signed by the members of Cortés’s company, he knew he had found a trove of historical details. Providing an accessible, accurate translation of this pivotal correspondence, along with in-depth examinations of its context and significance, The First Letter from New Spain gives all readers access to the first document written from the mainland of North America by any European, and the only surviving original document from the first months of the conquest.The timing of Cortés’s Good Friday landing, immediately before the initial assault on the Aztec Empire, enhances the significance of this work. Though the expedition was conducted under the authority of Diego Velázquez, governor of Cuba, the letter reflects an attempt to break ties with Velázquez and form a strategic alliance with Carlos V, the Holy Roman Emperor and King of Spain. Brimming with details about the events surrounding Veracruz’s inception and accompanied by mini-biographies of 318 signers of the document—socially competitive men who risked charges of treason by renouncing Velázquez—The First Letter from New Spain gives evidence of entrepreneurship and other overlooked traits that fueled the conquest.

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The last two decades have given rise to a proliferation of scholarship by Israeli feminists working in diverse fields, ranging from sociology to literature, anthropology, and history. As the Israeli feminist movement continually decentralizes and diversifies, it has become less Eurocentric and heterocentric, making way for pluralistic concerns. Collecting fifteen previously published essays that give voice to this diversity, Israeli Feminist Scholarship showcases articles on Ashkenazi, Mizrahi, Palestinian, and lesbian identities as well as on Israeli women’s roles as mothers, citizens and activists, and soldiers.Citing evidence that these scholars have redefined their object of inquiry as an open site of contested and constructed identity, luminary Esther Fuchs traces the history of Israeli feminism. Among the essays are Jewish historian Margalit Shilo’s study of the New Hebrew Woman, sociologist Ronit Lentin’s analysis of gendered representations of the Holocaust in Israeli culture, peace activist Erella Shadmi on lesbianism as a nonissue in Israel, and cultural critic Nitza Berkovitch’s examination of womanhood as constructed in Israeli legal discourse.Creating a space for a critical examination of the relationship between disparate yet analogous discourses within feminism and Zionism, this anthology reclaims the mobilizing, inclusive role of these multifaceted discourses beyond the postmodern paradigm.

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International migration between countries in Latin America became increasingly important during the twentieth century, but for a long time it was the subject of only limited research. Scott Whiteford sets the Argentina-Bolivia experience in historical perspective by examining the macrolevel factors that influenced social change in both countries and brought streams of migration into Argentina. Seasonal labor, the expansion of capitalist agriculture, international migration, and urbanization are central topics in this in-depth study of Bolivian migrants in Northwest Argentina. Whiteford’s vivid portrayal of the lives and working conditions of the migrants is based on two years of research during which he lived with the workers on a sugar plantation and, after the harvest, accompanied them to other farms and to the city of Salta in their search for more work. He traces the development of plantation agriculture in Northwest Argentina and the processes by which the plantation gained access to cheap labor and maintained control over it. As Bolivians migrated to Argentina in ever greater numbers, many recruited for the harvest remained. Whiteford’s analysis of the diverse strategies employed by workers and their families to support themselves during the post-harvest season is a major contribution to migration literature. The four distinct but related patterns of migration that he describes created a labor reserve that transcends rural/urban designations, one that is utilized by employers in both the countryside and the city.

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For the Muslim faithful, the familiar sound of the Qurʾanic recitation is the predominant and most immediate means of contact with the Word of God. Heard day and night, on the street, in taxis, in shops, in mosques, and in homes, the sound of recitation is far more than the pervasive background music of daily life in the Arab world. It is the core of religious devotion, the sanctioning spirit of much cultural and social life, and a valued art form in its own right. Participation in recitation, as reciter or listener, is itself an act of worship, for the sound is basic to a Muslim’s sense of religion and invokes a set of meanings transcending the particular occasion. For the most part, Westerners have approached the Qurʾan much as scriptural scholars have studied the Bible, as a collection of written texts. The Art of Reciting the Qurʾan aims at redirecting that focus toward a deeper understanding of the Qurʾan as a fundamentally oral phenomenon. By examining Muslim attitudes toward the Qurʾan, the institutions that regulate its recitation, and performer-audience expectations and interaction, Kristina Nelson, a trained Arabist and musicologist, casts new light on the significance of Qurʾanic recitation within the world of Islam. Her landmark work is of importance to all scholars and students of the modern Middle East, as well as ethnomusicologists, anthropologists, linguists, folklorists, and religious scholars.

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The American Indian—origin, culture, and language—engaged the best minds of Europe from 1492 to 1729. Were the Indians the result of a co-creation? Were they descended from the Ten Lost Tribes of Israel? Could they have emigrated from Carthage, Phoenicia, or Troy? All these and many other theories were proposed.How could scholars account for the multiplicity of languages among the Indians, the differences in levels of culture? And how did the Indian arrive in America—by using as a bridge a now-lost continent or, as was later suggested by some persons in the light of an expanding knowledge of geography, by using the Bering Strait as a migratory route?Most of the theories regarding the American Indian were first advanced in the sixteenth century. In this distinctive book Lee E. Huddleston looks carefully into those theories and proposals. From many research sources he weaves an historical account that engages the reader from the very first.The two most influential men in an early-developing controversy over Indian origins were Joseph de Acosta and Gregorio García. Approaching the subject with restraint and with a critical eye, Acosta, in 1590, suggested that the presence of diverse animals in America indicated a land connection with the Old World. On the other hand, García accepted several theories as equally possible and presented each in the strongest possible light in his Origen de los indios of 1607.The critical position of Acosta and the credulous stand of García were both developed in Spanish writing in the seventeenth century. The Acostans settled on an Asiatic derivation for the Indians; the Garcians continued to accept most sources as possible. The Garcian position triumphed in Spain, as was shown by the republication of García’s Origen in 1729 with considerable additions consistent within the original framework.Outside of Spain, Acosta was the more influential of the two. His writings were critical in the thinking of such men as Joannes de Laet (who bested Grotius in their polemic on Indian origins), Georg Horn, and Samuel Purchas. By the end of the seventeenth century the Acostans of Northern Europe had begun to apply physical characteristics to the determination of Indian origins, and by the early eighteenth century these new criteria were beginning to place the question of Indian origins on a more nearly scientific level.

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Drawing on a newly developed theoretical definition of “missed opportunity,” Chances for Peace uses extensive sources in English, Hebrew, and Arabic to systematically measure the potentiality levels of opportunity across some ninety years of attempted negotiations in the Arab-Israeli conflict. With enlightening revelations that defy conventional wisdom, this study provides a balanced account of the most significant attempts to forge peace, initiated by the world’s superpowers, the Arabs (including the Palestinians), and Israel. From Arab-Zionist negotiations at the end of World War I to the subsequent partition, the aftermath of the 1967 War and the Sadat Initiative, and numerous agreements throughout the 1980s and 1990s, concluding with the Annapolis Conference in 2007 and the Abu Mazen-Olmert talks in 2008, pioneering scholar Elie Podeh uses empirical criteria and diverse secondary sources to assess the protagonists’ roles at more than two dozen key junctures.A resource that brings together historiography, political science, and the practice of peace negotiation, Podeh’s insightful exploration also showcases opportunities that were not missed. Three agreements in particular (Israeli-Egyptian, 1979; Israeli-Lebanese, 1983; and Israeli-Jordanian, 1994) illuminate important variables for forging new paths to successful negotiation. By applying his framework to a broad range of power brokers and time periods, Podeh also sheds light on numerous incidents that contradict official narratives. This unique approach is poised to reshape the realm of conflict resolution.

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An important and previously unexplored body of esoteric ritual songs of the Tz’utujil Maya of Santiago Atitlán, Guatemala, the “Songs of the Old Ones” are a central vehicle for the transmission of cultural norms of behavior and beliefs within this group of highland Maya. Ethnomusicologist Linda O’Brien-Rothe began collecting these songs in 1966, and she has amassed the largest, and perhaps the only significant, collection that documents this nearly lost element of highland Maya ritual life.This book presents a representative selection of the more than ninety songs in O’Brien-Rothe’s collection, including musical transcriptions and over two thousand lines presented in Tz’utujil and English translation. (Audio files of the songs can be downloaded from the UT Press website.) Using the words of the “songmen” who perform them, O’Brien-Rothe explores how the songs are intended to move the “Old Ones”—the ancestors or Nawals—to favor the people and cause the earth to labor and bring forth corn. She discusses how the songs give new insights into the complex meaning of dance in Maya cosmology, as well as how they employ poetic devices and designs that place them within the tradition of K’iche’an literature, of which they are an oral form. O’Brien-Rothe identifies continuities between the songs and the K’iche’an origin myth, the Popol Vuh, while also tracing their composition to the late sixteenth and early seventeenth centuries by their similarities with the early chaconas that were played on the Spanish guitarra española, which survives in Santiago Atitlán as a five-string guitar.

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The relation of White House assistants to the president, their appropriate role in the governmental process, and the most effective means for organizing and managing the White House have been subjects of both public concern and academic dispute. White House Operations addresses these and related questions by providing the first thorough analysis of how the thirty-sixth president managed his staff. By grounding their study in original documents from the Lyndon B. Johnson Presidential Library, the authors lift the veil of secrecy that clouds the inner workings of the White House. The result is an insightful elaboration of the complex, extensive, and diverse roles of White House aides—and av fascinating look at such key White House figures as McGeorge Bundy, Joseph Califano, Bill Moyers, George Reedy, Walt Rostow, Lawrence O’Brien, and Johnson himself. This exploration of Johnson’s highly personalized White House operations provides far-reaching implications for the nature of effective presidential management. The comprehensive analysis of the range of work done under Johnson and the unique nature of White House assistance leads the authors to a strong and vigorous assertion for a positive role for the White House staff that clashes sharply with the thrust of many recommendations for reorganizing the presidency. Redford and McCulley convincingly demonstrate that management of the White House staff and other parts of the president’s advisory system will remain crucial for successful presidential performance. The book is the fifth volume in a series designed to provide a comprehensive administrative history of the Johnson presidency. The book will be of interest to the informed general reader, presidential scholars, political scientists, U.S. historians, and students of public management and will be an important addition to academic library collections.

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Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today.Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, André Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.

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Austin, Texas, is renowned as a high-tech, fast-growing city for the young and creative, a cool place to live, and the scene of internationally famous events such as SXSW and Formula 1. But as in many American cities, poverty and penury are booming along with wealth and material abundance in contemporary Austin. Rich and poor residents lead increasingly separate lives as growing socioeconomic inequality underscores residential, class, racial, and ethnic segregation.In Invisible in Austin, the award-winning sociologist Javier Auyero and a team of graduate students explore the lives of those working at the bottom of the social order: house cleaners, office-machine repairers, cab drivers, restaurant cooks and dishwashers, exotic dancers, musicians, and roofers, among others. Recounting their subjects’ life stories with empathy and sociological insight, the authors show us how these lives are driven by a complex mix of individual and social forces. These poignant stories compel us to see how poor people who provide indispensable services for all city residents struggle daily with substandard housing, inadequate public services and schools, and environmental risks. Timely and essential reading, Invisible in Austin makes visible the growing gap between rich and poor that is reconfiguring the cityscape of one of America’s most dynamic places, as low-wage workers are forced to the social and symbolic margins.

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In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper.At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of “car art” and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.

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Croydon, England, was the setting of the famous three-way friendship of D. H. Lawrence, Jessie Chambers, and Helen Corke, all of whom made literary records of their association, and all of whom appeared as characters in Lawrence novels. Perhaps the most objective of these records were Helen Corke’s, which became difficult to acquire. Their scarcity and their continuing usefulness were the stimulus for publication of this volume, which contains in four statements Helen Corke’s “major comment on Lawrence the man and Lawrence the artist.” The “Portrait of D. H. Lawrence, 1909–1910,” a section from Corke’s unpublished autobiography, gives the reader glimpses into the earliest stages of the Lawrence-Corke friendship, when Lawrence worked to bring meaning back into Corke’s life after she had suffered a tragic loss. The “Portrait” tells of conversations before a log fire, German lessons, the reading of poetry, and sessions over Lawrence’s manuscript “Nethermere,” which the publishers renamed The White Peacock. In “Portrait,” Corke tells of working with Lawrence on revising the proofs of this book, of Lawrence’s encouragement of her own literary efforts, of their wandering together in the Kentish hill country, and of her first meeting with Jessie Chambers. “Lawrence’s ‘Princess’” continues the narrative of the triple friendship, carrying it to its sad ending, but with the focus on Jessie Chambers. Perceptively and sympathetically written, it throws a clarifying light on the psychology of Lawrence and presents with literary charm another human being—Jessie, the Miriam of Sons and Lovers. In combined narrative-critique method, Corke, in the essay “Concerning The White Peacock,” relates Lawrence’s problems in writing this novel and gives an analysis of its literary quality. Lawrence and Apocalypse is cast in the form of a “deferred conversation” in which Lawrence and Corke discuss his philosophical ideas as presented in his Apocalypse. Although the book was written to present Lawrence’s ideas, its significance reposes equally in Corke’s reaction to his thought. As a succinct statement of Lawrence’s teachings about the nature of humanity, it has unique value.

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The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement.David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.

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2004 – Clifford G. Christians Ethics Research Award — The Carl Couch Center for Social and Internet Research Kids around the world love Disney animated films, and many of their parents trust the Disney corporation to provide wholesome, moral entertainment for their children. Yet frequent protests and even boycotts of Disney products and practices reveal a widespread unease with the sometimes mixed and inconsistent moral values espoused in Disney films as the company attempts to appeal to the largest possible audience. In this book, Annalee R. Ward uses a variety of analytical tools based in rhetorical criticism to examine the moral messages taught in five recent Disney animated films—The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, and Mulan. Taking the films on their own terms, she uncovers the many mixed messages they purvey: for example, females can be leaders—but male leadership ought to be the norm; stereotyping is wrong—but black means evil; historical truth is valued—but only tell what one can sell, etc. Adding these messages together, Ward raises important questions about the moral ambiguity of Disney's overall worldview and demonstrates the need for parents to be discerning in letting their children learn moral values and life lessons from Disney films.

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A funny thing happened on the way to the movies. Instead of heading downtown to a first-run movie palace, or even to a suburban multiplex with the latest high-tech projection capabilities, many people's first stop is now the neighborhood video store. Indeed, video rentals and sales today generate more income than either theatrical releases or television reruns of movies. This pathfinding book chronicles the rise of home video as a mass medium and the sweeping changes it has caused throughout the film industry since the mid-1970s. Frederick Wasser discusses Hollywood's initial hostility to home video, which studio heads feared would lead to piracy and declining revenues, and shows how, paradoxically, video revitalized the film industry with huge infusions of cash that financed blockbuster movies and massive marketing campaigns to promote them. He also tracks the fallout from the video revolution in everything from changes in film production values to accommodate the small screen to the rise of media conglomerates and the loss of the diversity once provided by smaller studios and independent distributors.

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Hardly a place exists on earth that has not been shaped in some way by human beings. Every day we modify and even sweep away natural landscapes as we build places to live and work. But why we react and interact as social beings intent on exercising ecological dominance poses an endlessly compelling puzzle for everyone from novelists to geographers.In Showing Off, distinguished geographer Philip L. Wagner offers a persuasive hypothesis. Drawing on a lifetime of inquiry, travel, and teaching, he asserts that the strive for Geltung—personal standing, recognition, acceptance, esteem, and influence—shapes all of our interactions and defines the unique social character of human beings.Wagner applies the Geltung hypothesis to a wide range of human activities from falling in love and spreading gossip to buying goods and making war. His examples demonstrate how communication and display—"showing off"—impel geographic change, as they reveal how and why people with the most Geltung tend to occupy the most desirable places.This broad vision draws insights from many fields. A major contribution to cultural geography, the book also sheds new light on individual psychology and psychopathology and suggests new themes for cognitive science and even philosophy. Sure to stir lively debate in many circles, it will be provocative reading for everyone fascinated by the continuum between people and places.

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By one of the most original and learned critical voices in Hispanic studies— a timely and ambitious study of authority as theme and authority as authorial strategy in modern Latin American literature. An ideology is implicit in modern Latin American literature, argues Roberto González Echevarría, through which both the literature itself and criticism of it define what Latin American literature is and how it ought to be read. In the works themselves this ideology is constantly subjected to a radical critique, and that critique renders the ideology productive and in a sense is what constitutes the work. In literary criticism, however, too frequently the ideology merely serves as support for an authoritative discourse that seriously misrepresents Latin American literature. In The Voice of the Masters, González Echevarría attempts to uncover the workings of modern Latin American literature by creating a dialogue of texts, a dynamic whole whose parts are seven illuminating essays on seminal texts in the tradition. As he says, "To have written a sustained, expository book ... would have led me to make the same kind of critical error that I attribute to most criticism of Latin American literature.... I would have naively assumed an authoritative voice while attempting a critique of precisely that critical gesture." Instead, major works by Barnet, Cabrera Infante, Carpentier, Cortázar, Fuentes, Gallegos, García Márquez, Roa Bastos, and Rodó are the object of a set of independent deconstructive (and reconstructive) readings. Writing in the tradition of Derrida and de Man, González Echevarría brings to these readings both the penetrative brilliance of the French master and a profound understanding of historical and cultural context. His insightful annotation of Cabrera Infante's "Meta-End," the full text of which is presented at the close of the study, clearly demonstrates these qualities and exemplifies his particular approach to the text.

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Throughout Mexico's history, women have been subjected to a dual standard: exalted in myth, they remain subordinated in their social role by their biology. But this dualism is not so much a battle between the sexes as the product of a social system. The injustices of this system have led Mexican women to conclude that they deserve a better world, one worth struggling for.Published originally in Spanish as Mujeres en México: Una historia olvidada, this work examines the role of Mexican women from pre-Cortés to the 1980s, addressing the interplay between myth and history and the gap between theory and practice. Pointing to such varied prototypes as the Virgin of Guadalupe, La Malinche, and Sor Juana, Tuñón contrasts what these women represent with more realistic but less-exalted counterparts such as Josefa Ortiz de Domínguez, La Güera Rodríguez, and Juana Belén Gutiérrez de Mendoza. She also discusses the identity transformation by which indigenous women come to see themselves as Mexicanas, and analyzes such issues as women's economic dislocation in the labor force, education, and self-image.In challenging the illusion that historians have created of women in Mexico's history, Tuñón hopes to recover feminism—with its strengths and weaknesses, its vision of the world that is both intellectual and full of feeling. By examining the social world of Mexico, she also hopes to determine those situations that cause oppression, exploitation, and marginalization of women.

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As archaeologists recover the lost treasures of Alexandria, the modern world is marveling at the latter-day glory of ancient Egypt and the Greeks who ruled it from the ascension of Ptolemy I in 306 B.C. to the death of Cleopatra the Great in 30 B.C. The abundance and magnificence of royal sculptures from this period testify to the power of the Ptolemaic dynasty and its influence on Egyptian artistic traditions that even then were more than two thousand years old. In this book, Paul Edmund Stanwick undertakes the first complete study of Egyptian-style portraits of the Ptolemies. Examining one hundred and fifty sculptures from the vantage points of literary evidence, archaeology, history, religion, and stylistic development, he fully explores how they meld Egyptian and Greek cultural traditions and evoke surrounding social developments and political events. To do this, he develops a "visual vocabulary" for reading royal portraiture and discusses how the portraits helped legitimate the Ptolemies and advance their ideology. Stanwick also sheds new light on the chronology of the sculptures, giving dates to many previously undated ones and showing that others belong outside the Ptolemaic period.

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