Search results for ""Pennsylvania State University Press""

Early modern central Africa comes to life in an extraordinary atlas of vivid watercolors and drawings that Italian Capuchin Franciscans, veterans of Kongo and Angola missions, composed between 1650 and 1750 for the training of future missionaries. These “practical guides” present the intricacies of the natural, social, and religious environment of seventeenth- and eighteenth-century west-central Africa and outline the primarily visual catechization methods the friars devised for the region. Images on a Mission in Early Modern Kongo and Angola brings this overlooked visual corpus to public and scholarly attention.This beautifully illustrated book includes full-color reproductions of all the images in the atlas, in conjunction with rarely seen related material gathered from collections and archives around the world. Taking a bold new approach to the study of early modern global interactions, art historian Cécile Fromont demonstrates how visual creations such as the Capuchin vignettes, though European in form and crafstmanship, emerged not from a single perspective but rather from cross-cultural interaction. Fromont models a fresh way to think about images created across cultures, highlighting the formative role that cultural encounter itself played in their conception, execution, and modes of operation.Centering Africa and Africans, and with ramifications on four continents, Fromont’s decolonial history profoundly transforms our understanding of the early modern world. It will be of substantial interest to specialists in early modern studies, art history, and religion.

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Political campaigns in the United States, especially those for the presidency, can be nasty—very nasty. And while we would like to believe that the 2020 election was an aberration, insults, invective, and yes, even violence have characterized US electoral politics since the republic’s early days. By examining the political discourse around nine particularly deplorable elections, Mary E. Stuckey seeks to explain why. From the contest that pitted Thomas Jefferson against John Adams in 1800 through 2020’s vicious, chaotic matchup between Donald Trump and Joe Biden, Stuckey documents the cycle of despicable discourse in presidential campaigns. Looking beyond the character and the ideology of the candidates, Stuckey explores the broader political, economic, and cultural milieus in which each took place. In doing so, she reveals the conditions that exacerbate and enable our worst political instincts, producing discourses that incite factions, target members of the polity, encourage undemocratic policy, and actively work against the national democratic project.Keenly analytical and compulsively readable, Deplorable provides context for the 2016 and 2020 elections, revealing them as part of a cyclical—and perhaps downward-spiraling—pattern in American politics. Deplorable offers more than a comparison of the worst of our elections. It helps us understand these shameful and disappointing moments in our political history, leaving one important question: Can we avoid them in the future?

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Linguistic and semantic features in names—and surnames in particular—reveal evidence of historical phenomena, such as migrations, occupational structure, and acculturation. In this book, Alexander Avram assembles and analyzes a corpus of more than 28,000 surnames, including phonetic and graphic variants, used by Jews in Romanian-speaking lands from the sixteenth century until 1944, the end of World War II in Romania.Mining published and unpublished sources, including Holocaust-period material in the Yad Vashem Archives and the Pages of Testimony collection, Avram makes the case that through a careful analysis of the surnames used by Jews in the Old Kingdom of Romania, we can better understand and corroborate different sociohistorical trends and even help resolve disputed historical and historiographical issues. Using onomastic methodology to substantiate and complement historical research, Avram examines the historical development of these surnames, their geographic patterns, and the ways in which they reflect Romanian Jews’ interactions with their surroundings. The resulting surnames dictionary brings to light a lesser-known chapter of Jewish onomastics. It documents and preserves local naming patterns and specific surnames, many of which disappeared in the Holocaust along with their bearers.Historical Implications of Jewish Surnames in the Old Kingdom of Romania is the third volume in a series that includes Pleasant Are Their Names: Jewish Names in the Sephardi Diaspora and The Names of Yemenite Jewry: A Social and Cultural History, both of which are available from Penn State University Press. This installment will be especially welcomed by scholars working in Holocaust studies.

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With its selection as the court of the Spanish Habsburgs, Madrid became the de facto capital of a global empire, a place from which momentous decisions were made whose implications were felt in all corners of a vast domain. By the seventeenth century, however, political theory produced in the Monarquía Hispánica dealt primarily with the concept of decline. In this book, Jesús Escobar argues that the buildings of Madrid tell a different story about the final years of the Habsburg dynasty.Madrid took on a grander public face over the course of the seventeenth century, creating a “court space” for residents and visitors alike. Drawing from the representation of the city’s architecture in prints, books, and paintings, as well as re-created plans standing in for lost documents, Escobar demonstrates how, through shared forms and building materials, the architecture of Madrid embodied the monarchy and promoted its chief political ideals of justice and good government. Habsburg Madrid explores palaces, public plazas, a town hall, a courthouse, and a prison, narrating the lived experience of architecture in a city where a wide roster of protagonists, from architects and builders to royal patrons, court bureaucrats, and private citizens, helped shape a modern capital.Richly illustrated, highly original, and written by a leading scholar in the field, this volume disrupts the traditional narrative about seventeenth-century Spanish decadencia. It will be welcomed by specialists in Habsburg Spain and by historians of art, architecture, culture, economics, and politics.

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In the late ’90s, third-wave ska broke across the American alternative music scene like a tsunami. In sweaty clubs across the nation, kids danced themselves dehydrated to the peppy rhythms and punchy horns of bands like The Mighty Mighty Bosstones and Reel Big Fish. As ska caught fire, a swing revival brought even more sharp-dressed, brass-packing bands to national attention. Hell of a Hat dives deep into this unique musical moment. Prior to invading the Billboard charts and MTV, ska thrived from Orange County, California, to NYC, where Moon Ska Records had eager rude girls and boys snapping up every release. On the swing tip, retro pioneers like Royal Crown Revue had fans doing the jump, jive, and wail long before The Brian Setzer Orchestra resurrected the Louis Prima joint. Drawing on interviews with heavyweights like the Bosstones, Sublime, Less Than Jake, and Cherry Poppin' Daddies—as well as underground heroes like Mustard Plug, The Slackers, Hepcat, and The New Morty Show—Kenneth Partridge argues that the relative economic prosperity and general optimism of the late ’90s created the perfect environment for fast, danceable music that—with some notable exceptions—tended to avoid political commentary.An homage to a time when plaids and skankin’ were king and doing the jitterbug in your best suit was so money, Hell of a Hat is an inside look at ’90s ska, swing, and the loud noises of an era when America was dreaming and didn’t even know it.

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In 2020, the COVID-19 pandemic brought the world to its knees. When we weren’t sheltering in place, we were advised to wear masks, wash our hands, and practice social distancing. We watched in horror as medical personnel worked around the clock to care for the sick and dying. Businesses were shuttered, travel stopped, workers were furloughed, and markets dropped. And people continued to die.Amid all this uncertainty, writers and artists from around the world continued to create comics, commenting directly on how individuals, societies, governments, and markets reacted to the worldwide crisis. COVID Chronicles: A Comics Anthology collects more than sixty such short comics from a diverse set of creators, including indie powerhouses, mainstream artists, Ignatz and Eisner Award winners, and media cartoonists. In narrative styles ranging from realistic to fantastic, they tell stories about adjusting to working from home, homeschooling their kids, missing birthdays and weddings, and being afraid just to leave the house. They probe the failures of government leaders and the social safety net. They dig into the racial bias and systemic inequities that this pandemic helped bring to light. We see what it’s like to get the virus and live to tell about it, or to stand by helplessly as a loved one passes.At times heartbreaking and at others hopeful and humorous, these comics express the anger, anxiety, fear, and bewilderment we feel in the era of COVID-19. Above all, they highlight the power of art and community to help us make sense of a world in crisis, reminding us that we are truly all in this together.The comics in this collection have been generously donated by their creators. A portion of the proceeds from the sale of this volume are being donated by the publisher to the Book Industry Charitable Foundation (Binc) in support of comics shops, bookstores, and their employees who have been adversely affected by the pandemic.

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According to the popular maxim, a nation at war reveals its true character. In this incisive work, Chris Gilbert examines the long history of US war politics through the lens of political cartoons to provide new, unique insights into American cultural identity.Tracing the comic representation of American values from the First World War to the War on Terror, Gilbert explores the power of humor in caricature to expose both the folly in jingoistic virtues and the sometimes-strange fortune in nationalistic vices. He examines the artwork of four exemplary American cartoonists—James Montgomery Flagg, Dr. Seuss, Ollie Harrington, and Ann Telnaes—to craft a trenchant image of Americanism. These examinations animate the rhetorical, and indeed comic, force of icons like Uncle Sam, national symbols like the American Eagle, political stooges like President Donald J. Trump, and more, as well as the power of political cartoons to comment on issues of race, class, and gender on the home front. Throughout, Gilbert portrays a US culture rooted in and riven by ideas of manifest destiny, patriotism, and democracy for all, yet plagued by ugly forms of nationalism, misogyny, racism, and violence.Rich with examples of hilarious and masterfully drawn caricatures from a diverse range of creators, this unflinching look at the evolution of our conflicted national character illustrates how American cartoonists use farce, mockery, and wit to put national character in the comic looking glass.

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Democracy is venerated in US political culture, in part because it is our democracy. As a result, we assume that the government and institutions of the United States represent the true and right form of democracy, needed by all. This volume challenges this commonplace belief by putting US politics in the context of the Americas more broadly. Seeking to cultivate conversations among and between the hemispheres, this collection examines local political rhetorics across the Americas. The contributors—scholars of communication from both North and South America—recognize democratic ideals as irreducible to a single national perspective and reflect on the ways social minorities in the Western Hemisphere engage in unique political discourses. The essays consider current rhetorics in the United States on American exceptionalism, immigration, citizenship, and land rights alongside current cultural and political events in Latin America, such as corruption in Guatemala, women’s activism in Ciudad Juárez, representation in Venezuela, and media bias in Brazil. Through a survey of these rhetorics, this volume provides a broad analysis of democracy. It highlights institutional and cultural differences in the Americas and presents a hemispheric democracy that is both more pluralistic and more agonistic than what is believed about the system in the United States.In addition to the editors, the contributors include José Cortez, Linsay M. Cramer, Pamela Flores, Alberto González, Amy N. Heuman, Christa J. Olson, Carlos Piovezani, Clara Eugenia Rojas Blanco, Abraham Romney, René Agustín de los Santos, and Alejandra Vitale.

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Democracy is venerated in US political culture, in part because it is our democracy. As a result, we assume that the government and institutions of the United States represent the true and right form of democracy, needed by all. This volume challenges this commonplace belief by putting US politics in the context of the Americas more broadly. Seeking to cultivate conversations among and between the hemispheres, this collection examines local political rhetorics across the Americas. The contributors—scholars of communication from both North and South America—recognize democratic ideals as irreducible to a single national perspective and reflect on the ways social minorities in the Western Hemisphere engage in unique political discourses. The essays consider current rhetorics in the United States on American exceptionalism, immigration, citizenship, and land rights alongside current cultural and political events in Latin America, such as corruption in Guatemala, women’s activism in Ciudad Juárez, representation in Venezuela, and media bias in Brazil. Through a survey of these rhetorics, this volume provides a broad analysis of democracy. It highlights institutional and cultural differences in the Americas and presents a hemispheric democracy that is both more pluralistic and more agonistic than what is believed about the system in the United States.In addition to the editors, the contributors include José Cortez, Linsay M. Cramer, Pamela Flores, Alberto González, Amy N. Heuman, Christa J. Olson, Carlos Piovezani, Clara Eugenia Rojas Blanco, Abraham Romney, René Agustín de los Santos, and Alejandra Vitale.

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In Playful Pictures, Chriscinda Henry explores the rise of private art collection in Renaissance Venice as a diporto, or pastime, practiced within a kaleidoscopic matrix of domestic leisure that encompassed the recitation of poetry and tales, games, music making, amateur theatrical activity, and the conversational arts.Between around 1490 and 1550, a new class of pictures emerged in Venice. These images—primarily paintings but also drawings, prints, book illustrations, and historiated architectural elements—feature quotidian, festive, allusive, and performative subjects that catered to the cultural and intellectual interests of avant-garde patrons and collectors. Several generations of Venetian artists, including Vittore Carpaccio, Giorgione, Titian, Sebastiano del Piombo, Giovanni Cariani, Bernardino Licinio, and Paris Bordon, rose to meet the demand of modern collectors seeking entertaining artworks that could speak to their personal values and taste. Playful Pictures connects painting and the graphic arts with other art forms engaged in the home: vernacular literature and the novella tradition; pastoral music, verse, and theater; urban dialect comedies; and carnival and ludic culture. Taking an interdisciplinary approach that treats these pursuits as linked forms of creative practice, Henry argues that they served as dynamic forms of personal and collective expression for patrons, collectors, artists, and other virtuosi seeking to express a new set of secular values and a contingent notion of selfhood.Incorporating fresh evidence from archival sources, this book expands the discourse on Renaissance art by situating it within the growing, and increasingly nuanced, scholarly understanding of Renaissance leisure and entertainment culture.

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Considered by many to be one of the most influential German Pietists, August Hermann Francke lived during a moment when an emphasis on conversion was beginning to produce small shifts in how the sacraments were defined—a harbinger of later, more dramatic changes to come in evangelical theology. In this book, Peter James Yoder uses Francke and his theology as a case study for the ecclesiological stirrings that led to the rise of evangelicalism and global Protestantism.Engaging extensively with Francke’s manuscript sermons and writings, Yoder approaches Francke’s life and religious thought through his theology of the sacraments. In doing so, Yoder delivers key insights into the structure of Francke's Pietist thought, providing a rich depiction of his conversion-driven theology and how it shaped his views of the sacraments and the church. The first in-depth study of Francke’s theology written for an English-speaking audience, this book supports recent scholarship in English that not only challenges long-held assumptions about Pietism but also argues for the role of Pietism’s influence on the changing religious landscape of the eighteenth century. Through his examination of Francke’s theology of the sacraments, Yoder presents a fresh view into the eighteenth-century ecclesiological developments that caused a rupture with the dogmas of the Reformation.Original and vital, this study recognizes Francke’s importance to the history of Pietism in Germany and beyond. It will become the standard reference on Francke for American audiences and will influence scholarship on Lutheranism, Pietism, early modern German studies, and eighteenth-century history and religion.

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Transhumanism is widely misunderstood, in part because the media have exaggerated current technologies and branded the movement as dangerous, leading many to believe that hybrid humans may soon walk among us and that immortality, achieved by means of mind-uploading, is imminent. In this essential and clarifying volume, Stefan Lorenz Sorgner debunks widespread myths about transhumanism and tackles the most pressing ethical issues in the debate over technologically assisted human enhancement.On Transhumanism is a vital primer on the subject, written by a world-renowned expert. In this book, Sorgner presents an overview of the movement’s history, capably summarizing the twelve pillars of transhumanist discourse and explaining the great diversity of transhumanist responses to each individual topic. He highlights the urgent ethical challenges related to the latest technological developments, inventions, and innovations and compares the unique cultural standing of transhumanism to other cultural movements, placing it within the broader context of the Enlightenment, modernity, postmodernity, and the philosophical writings of Nietzsche. Engagingly written and translated and featuring an introduction for North American readers, this comprehensive overview of the cultural and philosophical movement of transhumanism will be required reading for students of posthumanist philosophy and for general audiences interested in learning about the transhumanist movement.

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Winner of the 2022 Charles Rufus Morey Award from the College Art Association Winner of the 2023 Otto Gründler Book Prize from Western Michigan UniversityGuided by Aristotelian theories, medieval philosophers believed that nature abhors a vacuum. Medieval art, according to modern scholars, abhors the same. The notion of horror vacui—the fear of empty space—is thus often construed as a definitive feature of Gothic material culture. In The Absent Image, Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures.Exploring complex conversations among medieval philosophy, physics, mathematics, piety, and image-making, Gertsman considers the concept of nothingness in concert with the imaginary, revealing profoundly inventive approaches to emptiness in late medieval visual culture, from ingenious images of the world’s creation ex nihilo to figurations of absence as a replacement for the invisible forces of conception and death.Innovative and challenging, this book will find its primary audience with students and scholars of art, religion, physics, philosophy, and mathematics. It will be particularly welcomed by those interested in phenomenological and cross-disciplinary approaches to the visual culture of the later Middle Ages.

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On a November evening in 1989, Laura Levitt was raped in her own bed. Her landlord heard the assault taking place and called 911, but the police arrived too late to apprehend Laura’s attacker. When they left, investigators took items with them—a pair of sweatpants, the bedclothes—and a rape exam was performed at the hospital. However, this evidence was never processed.Decades later, Laura returns to these objects, viewing them not as clues that will lead to the identification of her assailant but rather as a means of engaging traumatic legacies writ large. The Objects That Remain is equal parts personal memoir and fascinating examination of the ways in which the material remains of violent crimes inform our experience of, and thinking about, trauma and loss. Considering artifacts in the United States Holocaust Memorial Museum and evidence in police storage facilities across the country, Laura’s story moves between intimate trauma, the story of an unsolved rape, and genocide. Throughout, she asks what it might mean to do justice to these violent pasts outside the juridical system or through historical empiricism, which are the dominant ways in which we think about evidence from violent crimes and other highly traumatic events.Over the course of her investigation, the author reveals how these objects that remain and the stories that surround them enable forms of intimacy. In this way, she models for us a different kind of reckoning, where justice is an animating process of telling and holding.

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The impetus for literary creation has often been explained as an attempt to transcend the mortality of the human condition through a work addressed to future generations. Failing to obtain literal immortality, or to turn their hope toward the spiritual immortality promised by religious systems, literary creators seek a symbolic form of perpetuity granted to the intellectual side of their person in the memory of those not yet born while they write. In this book, Benjamin Hoffmann illuminates the paradoxes inherent in the search for symbolic immortality, arguing that the time has come to find a new answer to a perennial question: Why do people write?Exploring the fields of digital humanities and book history, Hoffmann describes posterity as a network of interconnected memories that constantly evolves by reserving a variable and continuously renegotiated place for works and authors of the past. In other words, the perpetual safeguarding of texts is delegated to a collectivity that is nonexistent at the moment when a writer addresses it, one whose nature is characterized by impermanence and instability. Focusing on key works by Denis Diderot, Étienne-Maurice Falconet, Giacomo Casanova, François-René de Chateaubriand, and Jean-Paul Sartre, Hoffmann considers the authors’ representations of posterity, the representation of authors by posterity, and how to register and preserve works in the network of memories. In doing so, Hoffmann reveals the three great paradoxes in the quest for symbolic immortality: the paradoxes of belief, of identity, and of mediation.Theoretically sophisticated and convincingly argued, this book contends that there is only one truly serious literary problem: the transmission of texts to posterity. It will appeal to specialists in literature, in particular eighteenth-century French literature, as well as scholars and students of philosophy and book history.

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The Play World chronicles the history and evolution of the concept of play as a universal part of childhood. Examining texts and toys coming out of Europe between 1631 and 1914, Patricia Anne Simpson argues that German material, literary, and pedagogical cultures were central to the construction of the modern ideas and realities of play and childhood in the transatlantic world.With attention to the details of toy manufacturing and marketing, Simpson considers prescriptive texts about how children should play, treat their possessions, and experience adventure in the scientific exploration of distant geographies. She illuminates the role of toys—among them a mechanical guillotine, yo-yos, hybridized dolls, and circus figures—as agents of history. Using an interdisciplinary approach that draws from postcolonial, childhood, and migration studies, she makes the case that these texts and toys transfer the world of play into a space in which model childhoods are imagined and enacted as German. With chapters on the Protestant play ethic, enlightened parenting, Goethe as an advocate of play, colonial fantasies, children’s almanacs, ethnographic play, and an empire of toys, Simpson’s argument follows a compelling path toward understanding the reproduction of religious, gendered, ethnic, racial, national, and imperial identities, emanating from German-speaking Europe, that collectively construct a global imaginary.This foundational and deeply original study connects German-speaking communities across the Atlantic as they collectively engender the epistemology of the play world. It will be of particular interest to German studies scholars whose research crosses the Atlantic.

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What does the study of iconography entail for scholars active today? How does it intersect with the broad array of methodological and theoretical approaches now at the disposal of art historians? Should we still dare to use the term “iconography” to describe such work?The seven essays collected here argue that we should. Their authors set out to evaluate the continuing relevance of iconographic studies to current art-historical scholarship by exploring the fluidity of iconography itself over broad spans of time, place, and culture. These wide-ranging case studies take a diverse set of approaches as they track the transformation of medieval images and their meanings along their respective paths, exploring how medieval iconographies remained stable or changed; how images were reconceived in response to new contexts, ideas, or viewerships; and how modern thinking about medieval images—including the application or rejection of traditional methodologies—has shaped our understanding of what they signify. These essays demonstrate that iconographic work still holds a critical place within the rapidly evolving discipline of art history as well as within the many other disciplines that increasingly prioritize the study of images.This inaugural volume in the series Signa: Papers of the Index of Medieval Art at Princeton University demonstrates the importance of keeping matters of image and meaning—regardless of whether we use the word “iconography”—at the center of modern inquiry into medieval visual culture.In addition to the editors, the contributors to this volume are Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles.

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Forming Sleep asks how biocultural and literary dynamics act together to shape conceptions of sleep states in the early modern period. Engaging with poetry, drama, and prose largely written in English between 1580 and 1670, the essays in this collection highlight period discussions about how seemingly insentient states might actually enable self-formation.Looking at literary representations of sleep through formalism, biopolitics, Marxist theory, trauma theory, and affect theory, this volume envisions sleep states as a means of defining the human condition, both literally and metaphorically. The contributors examine a range of archival sources—including texts in early modern faculty psychology, printed and manuscript medical treatises and physicians’ notes, and printed ephemera on pathological sleep—through the lenses of both classical and contemporary philosophy. Essays apply these frameworks to genres such as drama, secular lyric, prose treatise, epic, and religious verse. Taken together, these essays demonstrate how early modern depictions of sleep shape, and are shaped by, the philosophical, medical, political, and, above all, formal discourses through which they are articulated. With this in mind, the question of form merges considerations of the physical and the poetic with the spiritual and the secular, highlighting the pervasiveness of sleep states as a means by which to reflect on the human condition. In addition to the editors, the contributors to this volume include Brian Chalk, Jennifer Lewin, Cassie Miura, Benjamin Parris, Giulio Pertile, N. Amos Rothschild, Garret A. Sullivan Jr., and Timothy A. Turner.

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In Designing a New Tradition, Rebecca VanDiver presents a fresh perspective on the art and career of Loïs Mailou Jones. Considering the importance of Africa for Jones’s work and examining the broader roles played by class, gender, and politics in constructions of African American art histories as a whole, VanDiver makes a convincing case for Jones’s lasting place in American art history.VanDiver repositions Jones’s work within the canon of American art, situating the artist’s production within the larger cultural and aesthetic debates of the twentieth century, including modernism, abstraction, the Harlem Renaissance, feminism, Négritude, and Pan-Africanism. In doing so, VanDiver reveals one of Jones’s most significant contributions to American art: the development of a composite black aesthetic that negotiates African, American, and European artistic traditions to reflect the increasingly fragmented nature of twentieth-century black identity and diasporic experiences. Tracing Jones’s aesthetic transformations along a biographical arc, VanDiver offers a new framework for thinking about the connection between America and Africa and the role of the African diaspora in the creation of African American artistic identity.Accessibly written and filled with fascinating anecdotes about Jones’s life and career, her many acquaintances, and the challenges she faced as a black woman artist working in the twentieth century, this book makes a singular contribution to a new and expanded art-historical canon.

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Kings throughout medieval and early modern Europe had extraconjugal sexual partners. Only in France, however, did the royal mistress become a quasi-institutionalized political position. This study explores the emergence and development of the position of French royal mistress through detailed portraits of nine of its most significant incumbents: Agnès Sorel, Anne de Pisseleu d’Heilly, Diane de Poitiers, Gabrielle d’Estrées, Françoise Louise de La Baume Le Blanc, Françoise Athénaïs de Rochechouart de Mortemart, Françoise d’Aubigné, Jeanne-Antoinette Poisson, and Jeanne Bécu.Beginning in the fifteenth century, key structures converged to create a space at court for the royal mistress. The first was an idea of gender already in place: that while women were legally inferior to men, they were men’s equals in competence. Because of their legal subordinacy, queens were considered to be the safest regents for their husbands, and, subsequently, the royal mistress was the surest counterpoint to the royal favorite. Second, the Renaissance was a period during which people began to experience space as theatrical. This shift to a theatrical world opened up new ways of imagining political guile, which came to be positively associated with the royal mistress. Still, the role had to be activated by an intelligent, charismatic woman associated with a king who sought women as advisors. The fascinating particulars of each case are covered in the chapters of this book.Thoroughly researched and compellingly narrated, this important study explains why the tradition of a politically powerful royal mistress materialized at the French court, but nowhere else in Europe. It will appeal to anyone interested in the history of the French monarchy, women and royalty, and gender studies.

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Once a vibrant part of religious life for many Pennsylvania Germans in the eighteenth and nineteenth centuries, Fraktur manuscripts today are primarily studied for their decorative qualities. The Word in the Wilderness takes a different view, probing these documents for what they tell us about the lived religious experiences of the Protestant communities that made and used them and opening avenues for reinterpretation of this well-known, if little understood, set of cultural artifacts.The resplendent illuminated religious manuscripts commonly known as Fraktur have captivated collectors and scholars for generations. Yet fundamental questions about their cultural origins, purpose, and historical significance remain. Alexander Lawrence Ames addresses these by placing Fraktur manuscripts within a “Pietist paradigm,” grounded in an understanding of how their makers viewed “the Word,” or scripture. His analysis combines a sweeping overview of Protestant Christian religious movements in Europe and early America with close analysis of key Pennsylvania devotional manuscripts, revealing novel insights into the religious utility of calligraphy, manuscript illumination, and devotional reading as Protestant spiritual enterprises. Situating the manuscripts in the context of transatlantic religious history, early American spirituality, material culture studies, and the history of book and manuscript production, Ames challenges long-held approaches to Pennsylvania German studies and urges scholars to engage with these texts and with their makers and users on their own terms. Featuring dozens of illustrations, this lively, engaging book will appeal to Fraktur scholars and enthusiasts, historians of early America, and anyone interested in the material culture and spiritual practices of the German-speaking residents of Pennsylvania.

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The story of how the Lisu of southwest China were evangelized one hundred years ago by the China Inland Mission is a familiar one in mission circles. The subsequent history of the Lisu church, however, is much less well known. Songs of the Lisu Hills brings this history up to date, recounting the unlikely story of how the Lisu maintained their faith through twenty-two years of government persecution and illuminating how Lisu Christians transformed the text-based religion brought by the missionaries into a faith centered around an embodied set of Christian practices.Based on ethnographic fieldwork as well as archival research, this volume documents the development of Lisu Christianity, both through larger social forces and through the stories of individual believers. It explores how the Lisu, most of whom remain subsistence farmers, have oriented their faith less around cognitive notions of belief and more around participation in a rhythm of shared Christian practices, such as line dancing, attending church and festivals, evangelizing, working in one another’s fields, and singing translated Western hymns. These embodied practices demonstrate how Christianity developed in the mountainous margins of the world’s largest atheist state.A much-needed expansion of the Lisu story into a complex study of the evolution of a world Christian community, this book will appeal to scholars working at the intersections of World Christianity, anthropology of religion, ethnography, Chinese Christianity, and mission studies.

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By the mid-1930s, Pennsylvania’s anthracite coal industry was facing a steady decline. Mining areas such as the Wyoming Valley around the cities of Wilkes-Barre and Pittston were full of willing workers (including women) who proved irresistibly attractive to New York City’s “runaway shops”—ladies’ apparel factories seeking lower labor and other costs. The International Ladies’ Garment Workers’ Union (ILGWU) soon followed, and the Valley became a thriving hub of clothing production and union activity. This volume tells the story of the area’s apparel industry through the voices of men and women who lived it. Drawing from an archive of over sixty audio-recorded interviews within the Northeastern Pennsylvania Oral and Life History Collection, Sewn in Coal Country showcases sixteen stories told by workers, shop owners, union leaders, and others. The interview subjects recount the ILGWU-led movement to organize the shops, the conflicts between the district union and the national office in New York, the solidarity unionism approach of leader Min Matheson, the role of organized crime within the business, and the failed efforts to save the industry in the 1980s and 1990s. Robert P. Wolensky places the narratives in the larger context of American clothing manufacturing during the period and highlights their broader implications for the study of labor, gender, the working class, and oral history.Highly readable and thoroughly enlightening, this significant contribution to the study of labor history and women’s history will appeal to anyone interested in the relationships among workers, unions, management, and community; the effects of economic change on an area and its residents; the role of organized crime within the industry; and Pennsylvania history—especially the social history of industrialization and deindustrialization during the twentieth century.

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Published in five editions between 1621 and 1651, The Anatomy of Melancholy marks a unique moment in the development of disciplines, when fields of knowledge were distinct but not yet restrictive. In Robert Burton’s Rhetoric, Susan Wells analyzes the Anatomy, demonstrating how its early modern practices of knowledge and persuasion can offer a model for transdisciplinary scholarship today.In the first decades of the seventeenth century, Robert Burton attempted to gather all the existing knowledge about melancholy, drawing from professional discourses including theology, medicine, and philology as well as the emerging sciences. Examining this text through a rhetorical lens, Wells provides an account of these disciplinary exchanges in all their subtle variety and abundant wit, showing that questions of how knowledge is organized and how it is made persuasive are central to rhetorical theory. Ultimately, Wells argues that in addition to a book about melancholy, Burton’s Anatomy is a meditation on knowledge.A fresh interpretation of The Anatomy of Melancholy, this volume will be welcomed by scholars of early modern English and the rhetorics of health and medicine, as well as those interested in transdisciplinary work and rhetorical theory.

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Mass shootings have become the “new normal” in American life. The same can be said for the public debate that follows a shooting: blame is cast, political postures are assumed, but no meaningful policy changes are enacted. In After Gun Violence, Craig Rood argues that this cycle is the result of a communication problem. Without advocating for specific policies, Rood examines how Americans talk about gun violence and suggests how we might discuss the issues more productively and move beyond our current, tragic impasse.Exploring the ways advocacy groups, community leaders, politicians, and everyday citizens talk about gun violence, Rood reveals how the gun debate is about far more than just guns. He details the role of public memory in shaping the discourse, showing how memories of the victims of gun violence, the Second Amendment, and race relations influence how gun policy is discussed. In doing so, Rood argues that forgetting and misremembering this history leads interest groups and public officials to entrenched positions and political failure and drives the public further apart.Timely and innovative, After Gun Violence advances our understanding of public discourse in an age of gridlock by illustrating how public deliberation and public memory shape and misshape one another. It is a search to understand why public discourse fails and how we can do better.

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The Netherlands Carillon stands out in the American memorial landscape. Situated between Arlington National Cemetery and the Marine Corps War Memorial, the modernist design of this 127-foot steel bell tower is strangely at odds with its surroundings, much in the same way that its prominent place is at odds with its absence in American memory. In this book, Diederik Oostdijk reveals the intriguing history of this major monument hidden in plain sight.Given to the United States in the 1950s by the Dutch government as a gesture of gratitude for America’s role in the Dutch liberation during World War II and for the Marshall Plan aid that helped rebuild the Dutch economy, the carillon owes its conspicuous placement to the Cold War. Oostdijk traces the history of this monument, from its creation and the pageantry surrounding its presentation through its fall into disrepair and plans for its renewal. In so doing, he resolves the paradox of the carillon’s placement in Arlington and unearths a fascinating and compelling story of diplomacy and humanity.Interweaving art history, campanology, landscape architecture, literature, musicology, and diplomatic history, Bells for America recounts how the Netherlands and the United States reconstructed their national identities and fostered an international relationship in the postwar era through public art.

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In this meditative, heartbreaking, and unexpectedly comforting book, artist and essayist Judith Margolis tells the story of her mother’s illness, decline, and death through thoughtfully written vignettes, poignant drawings, and poetic, prayerful affirmations.As her mother fights a series of health crises and faces the end of her life, Margolis documents her anxious concern and her father’s turmoil while juggling responsibilities and her own distress. The resulting narrative, told with quiet intensity and candor, bears witness to contentious deliberations over medical decisions, the difficulties of patient care, and the complicated dynamics of family. In this book, designed to imitate a traditional Jewish prayer book, Margolis reminds herself and others caring for a dying parent to “pray”—pray for clarity, pray to stay centered, pray to forgive oneself—as a way of acknowledging and embodying the turbulent emotions involved. Both the form of the book and Margolis’s rendering of the traditions involved in a family death ground Life Support firmly in the Jewish experience, providing a spiritual layer to this honest, realistic narrative that all readers will find inspiring and relevant.Life Support: Invitation to Prayer is a unique testimony to the power of creative response to infirmity and careful documentation during times of personal loss, as well as a loving tribute to family, spirituality, and grief.

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This book explores a series of powerful artifacts associated with King Solomon via legendary or extracanonical textual sources. Tracing their cultural resonance throughout history, art historian Allegra Iafrate delivers exciting insights into these objects and interrogates the ways in which magic manifests itself at a material level.Each chapter focuses on a different Solomonic object: a ring used to control demons; a mysterious set of bottles that constrain evil forces; an endless knot or seal with similar properties; the shamir, known for its supernatural ability to cut through stone; and a flying carpet that can bring the sitter anywhere he desires. Taken together, these chapters constitute a study on the reception of the figure of Solomon, but they are also cultural biographies of these magical objects and their inherent aesthetic, morphological, and technical qualities.Thought-provoking and engaging, Iafrate’s study shows how ancient magic artifacts live on in our imagination, in items such as Sauron’s ring of power, Aladdin’s lamp, and the magic carpet. It will appeal to historians of art, religion, folklore, and literature.

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King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III—and why they keep bringing it back.Locating the statue’s destruction in a transatlantic space of radical protest and material violence—and tracing its resurrection through pictures and performances—Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities.Persuasive and engaging, Iconoclasm in New York demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City.

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Jules Michelet, one of France’s most influential historians and a founder of modern historical practice, was a passionate viewer and relentless interpreter of the visual arts. In this book, Michèle Hannoosh examines the crucial role that art writing played in Michelet’s work and shows how it decisively influenced his theory of history and his view of the practice of the historian.The visual arts were at the very center of Michelet’s conception of historiography. He filled his private notes, public lectures, and printed books with discussions of artworks, which, for him, embodied the character of particular historical moments. Michelet believed that painting, sculpture, architecture, and engraving bore witness to histories that frequently went untold; that they expressed key ideas standing behind events; and that they articulated concepts that would come to fruition only later.This groundbreaking reevaluation of Michelet’s approach to history elucidates how writing about art provided a model for the historian’s relation to, and interpretation of, the past, and thus for a new type of historiography—one that acknowledges and enacts the historian’s own implication in the history he or she tells.

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Francis Daniel Pastorius was one of the first German settlers to Pennsylvania and a touchstone figure of German-American cultural heritage. This monumental anthology presents a selection of his many writings in one volume.Pastorius sailed to North America as a Pietist but found a unique home among the Quakers in Pennsylvania. Within this early modern religious context, he was a lawyer, educator, and community leader; a polymath; and a prolific writer and collector of knowledge. At the turn of the eighteenth century, Pastorius held one of the largest manuscript collections in North America and wrote voluminously in multiple languages. His collecting, curation, and dissemination represents a unique look at the ways information was stored, processed, and utilized during the seventeenth and eighteenth centuries in both North America and Europe. This rich selection of Pastorius’s writings on religion, education, gardening, law and community, and the colony of Pennsylvania—as well as letters, poems, and numerous encyclopedic and bibliographic works—shows the mind of a true humanist in action.Pastorius’s works have long been important to the archival study of early German settlement and the Atlantic world. Now available together, transcribed, translated, and annotated, his writings will have widespread significance to the study of early American literature and history.

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In A Feeling of Wrongness, Joseph Packer and Ethan Stoneman confront the rhetorical challenge inherent in the concept of pessimism by analyzing how it is represented in an eclectic range of texts on the fringes of popular culture, from adult animated cartoons to speculative fiction.Packer and Stoneman explore how narratives such as True Detective, Rick and Morty, Final Fantasy VII, Lovecraftian weird fiction, and the pop ideology of transhumanism are better suited to communicate pessimistic affect to their fans than most carefully argued philosophical treatises and polemics. They show how these popular nondiscursive texts successfully circumvent the typical defenses against pessimism identified by Peter Wessel Zapffe as distraction, isolation, anchoring, and sublimation. They twist genres, upend common tropes, and disturb conventional narrative structures in a way that catches their audience off guard, resulting in belief without cognition, a more rhetorically effective form of pessimism than philosophical pessimism.While philosophers and polemicists argue for pessimism in accord with the inherently optimistic structures of expressive thought or rhetoric, Packer and Stoneman show how popular texts are able to communicate their pessimism in ways that are paradoxically freed from the restrictive tools of optimism. A Feeling of Wrongness thus presents uncharted rhetorical possibilities for narrative, making visible the rhetorical efficacy of alternate ways and means of persuasion.

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Dalmatian-Austrian philosopher, Roman Catholic priest, and radical cultural critic Ivan Illich is best known for polemical writings such as Deschooling Society and Tools for Conviviality, which decried Western institutions of the 1970s. This collection brings together Illich’s shorter writings from his early publications through the rise of his remarkable intellectual career, making available works that had fallen into undue obscurity.A fervent critic of Western Catholicism, Illich also addressed contemporary practices in fields from education and medicine to labor and socioeconomic development. At the heart of his work is his opposition to the imperialistic nature of state- and Church-sponsored missionary activities. His deep understanding of Church history, particularly the institutions of the thirteenth century, lent a historian’s perspective to his critique of the Church and other twentieth-century institutions.The Powerless Church and Other Selected Writings, 1955–1985 comprises some of Illich’s most salient and influential short works as well as a foreword by philosopher Giorgio Agamben. Featuring writings that had previously appeared in now-defunct publications, this volume is an indispensable resource for readers of Illich’s longer works and for scholars of philosophy, religion, and cultural critique.

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In this book, Gail Orgelfinger examines the ways in which English historians and illustrators depicted Joan of Arc over a period of four hundred years, from her capture in 1429 to the early nineteenth century.The variety of epithets attached to Joan of Arc—from “witch” and “Medean virago” to “missioned Maid” and “shepherd’s child”—attests to England’s complicated relationship with the saint. While portrayals of Joan in English popular culture evolved over the centuries, they do not follow a straightforward trajectory from vituperation to adulation. Focusing primarily on descriptions of Joan’s captivity, trial, and execution, this study shows how the exigencies of politics and the demands of genre shaped English retellings of her military successes, gender transgressions, and execution at the hands of her English enemies. Orgelfinger’s research illuminates how and why English writers and artists used the memory of Joan of Arc to grapple with issues such as England’s relationship with France, emerging protofeminism in the early modern era, and the sense of national guilt over her execution. A systematic analysis of Joan’s English historiography in its political and social contexts, this volume sheds light on four centuries of English thought on Joan of Arc. It will be welcomed by specialist and general readers alike, especially those interested in women’s studies.

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In this volume, Marjorie O’Rourke Boyle probes significant concepts of the human spirit in Western religious culture across more than two millennia, from the book of Genesis to early modern science. The Human Spirit treats significant interpretations of human nature as religious in political, philosophical, and physical aspects by tracing its historical subject through the Priestly tradition of the Hebrew Bible and the writings of the apostle Paul among the Corinthians, the innovative theologians Augustine and Aquinas, the reformatory theologian Calvin, and the natural philosopher and physician William Harvey. Boyle analyzes the particular experiences and notions of these influential authors while she contextualizes them in community. She shows how they shared a conviction, although distinctly understood, of the human spirit as endowed by or designed by a divine source of everything animate.An original and erudite work that utilizes a rich and varied array of primary source material, this volume will be of interest to intellectual and cultural historians of religion, philosophy, literature, and medicine.

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In How to Belong, Belinda Stillion Southard examines how women leaders throughout the world have asserted their rhetorical agency in troubling economic, social, and political conditions. Rather than utilizing the concept of citizenship to bolster political influence, the women in the case studies presented here rely on the power of relationships to create a more habitable world.With the rise of global capitalism, many nation-states that have profited from invigorated flows of capital have also responded to the threat of increased human mobility by heightening national citizenship’s exclusionary power. Through a series of case studies that include women grassroots protesters, a woman president, and a woman United Nations director, Stillion Southard analyzes several examples of women, all as embodied subjects in a particular transnational context, pushing back against this often violent rise in nationalist rhetoric. While scholars have typically used the concept of citizenship to explain what it means to belong, Stillion Southard instead shows how these women have reimagined belonging in ways that have enabled them to create national, regional, and global communities.As part of a broader conversation centered on exposing the violence of national citizenship and proposing ways of rejecting that violence, this book seeks to provide answers through the powerful rhetorical practices of resilient and inspiring women who have successfully negotiated what it means to belong, to be included, and to enact change beyond the boundaries of citizenship.

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Technē’s Paradox—a frequent theme in science fiction—is the commonplace belief that technology has both the potential to annihilate humanity and to preserve it. Advocating Weapons, War, and Terrorism looks at how this paradox applies to some of the most dangerous of technologies: population bombs, dynamite bombs, chemical weapons, nuclear weapons, and improvised explosive devices.Hill’s study analyzes the rhetoric used to promote such weapons in the nineteenth and twentieth centuries. By examining Thomas R. Malthus’s Essay on the Principle of Population, the courtroom address of accused Haymarket bomber August Spies, the army textbook Chemical Warfare by Major General Amos A. Fries and Clarence J. West, the life and letters of Manhattan Project physicist Leo Szilard, and the writings of Ted “Unabomber” Kaczynski, Hill shows how contemporary societies are equipped with abundant rhetorical means to describe and debate the extreme capacities of weapons to both destroy and protect. The book takes a middle-way approach between language and materialism that combines traditional rhetorical criticism of texts with analyses of the persuasive force of weapons themselves, as objects, irrespective of human intervention. Advocating Weapons, War, and Terrorism is the first study of its kind, revealing how the combination of weapons and rhetoric facilitated the magnitude of killing in the nineteenth and twentieth centuries, and illuminating how humanity understands and acts upon its propensity for violence. This book will be invaluable for scholars of rhetoric, scholars of science and technology, and the study of warfare.

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Despite the persistence and popularity of addressing the theme of eating in Paradise Lost, the tradition of Adam and Eve’s sin as one of gluttony—and the evidence for Milton’s adaptation of this tradition—has been either unnoticed or suppressed. Emily Stelzer provides the first book-length work on the philosophical significance of gluttony in this poem, arguing that a complex understanding of gluttony and of ideal, grateful, and gracious eating informs the content of Milton’s writing. Working with contextual material in the fields of physiology, philosophy, theology, and literature and building on recent scholarship on Milton’s experience of and knowledge about matter and the body, Stelzer draws connections between Milton’s work and both underexamined textual influences (including, for example, Gower’s Confessio Amantis) and well-recognized ones (such as Augustine’s City of God and Galen’s On the Natural Faculties).

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Poet, columnist, artist, and fiction writer Gwendolyn Bennett is considered by many to have been one of the youngest leaders of the Harlem Renaissance and a strong advocate for racial pride and the rights of African American women. Heroine of the Harlem Renaissance and Beyond presents key selections of her published and unpublished writings and artwork in one volume.From poems, short stories, and reviews to letters, journal entries, and art, this collection showcases Bennett’s diverse and insightful body of work and rightfully places her alongside her contemporaries in the Harlem Renaissance—figures such as Zora Neale Hurston, Langston Hughes, and Countee Cullen. It includes selections from her monthly column “The Ebony Flute,” published in Opportunity, the magazine of the National Urban League, as well as newly uncovered post-1928 work that proves definitively that Bennett continued writing throughout the following two decades. Bennett’s correspondence with canonical figures from the period, her influence on Harlem arts institutions, and her political writings, reviews, and articles show her deep connection to and lasting influence on the movement that shaped her early career.An indispensable introduction to one of the era’s most prolific and passionate minds, this reevaluation of Bennett’s life and work deepens our understanding of the Harlem Renaissance and enriches the world of American letters. It will be of special value to scholars and readers interested in African American literature and art and American history and cultural studies.

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Worldwide debates over issues of sexuality and gender have come to a head in recent years in mainline and evangelical churches, with the Anglican Communion—a worldwide network of churches that trace their practice to Canterbury and claim some 85 million members—among the most publicly visible sites of contestation. This thorough and compelling analysis of the conflicts within the Communion argues that they are symptoms of long-simmering issues that must be addressed when Anglican bishops and archbishops meet at the 2020 Lambeth Conference.To many, the disagreements over such issues as LGBTQ clergy, same-sex marriage, and women’s ordination suggest an insurmountable crisis facing Anglicans, one that may ultimately end the Communion. Christopher Craig Brittain and Andrew McKinnon argue otherwise. Drawing on extensive empirical research and interviews with influential Anglican leaders, they show how these struggles stem from a complex interplay of factors, notably the forces and effects of globalization, new communications technology, and previous decisions made by the Communion. In clarifying both the theological arguments and social forces at play as the bishops and primates of the Anglican Communion prepare to set the Church’s course for the next decade, Brittain and McKinnon combine sociological and theological methodologies to provide both a nuanced portrait of Anglicanism in a transnational age and a primer on the issues with which the Lambeth Conference will wrestle.Insightful, informative, and thought-provoking, The Anglican Communion at a Crossroads is an invaluable resource for understanding the debates taking place in this worldwide community. Those interested in Anglicanism, sexuality and the Christian tradition, the sociology of religion, and the evolving relationship between World Christianity and churches in the Global North will find it indispensable.

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Worldwide debates over issues of sexuality and gender have come to a head in recent years in mainline and evangelical churches, with the Anglican Communion—a worldwide network of churches that trace their practice to Canterbury and claim some 85 million members—among the most publicly visible sites of contestation. This thorough and compelling analysis of the conflicts within the Communion argues that they are symptoms of long-simmering issues that must be addressed when Anglican bishops and archbishops meet at the 2020 Lambeth Conference.To many, the disagreements over such issues as LGBTQ clergy, same-sex marriage, and women’s ordination suggest an insurmountable crisis facing Anglicans, one that may ultimately end the Communion. Christopher Craig Brittain and Andrew McKinnon argue otherwise. Drawing on extensive empirical research and interviews with influential Anglican leaders, they show how these struggles stem from a complex interplay of factors, notably the forces and effects of globalization, new communications technology, and previous decisions made by the Communion. In clarifying both the theological arguments and social forces at play as the bishops and primates of the Anglican Communion prepare to set the Church’s course for the next decade, Brittain and McKinnon combine sociological and theological methodologies to provide both a nuanced portrait of Anglicanism in a transnational age and a primer on the issues with which the Lambeth Conference will wrestle.Insightful, informative, and thought-provoking, The Anglican Communion at a Crossroads is an invaluable resource for understanding the debates taking place in this worldwide community. Those interested in Anglicanism, sexuality and the Christian tradition, the sociology of religion, and the evolving relationship between World Christianity and churches in the Global North will find it indispensable.

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Samuel N. Rosenberg, one of the premier translators of Old French, presents in this volume the first modern English-language version of the thirteenth-century French romance Robert le Diable, a tale of supernatural birth and spiritual redemption.Robert is born after his mother, a childless noblewoman, secretly calls upon Satan to help her conceive. His wicked behavior as a boy and, later, as a destructive young man is so brutal that one day Robert prevails upon his mother to reveal the secret of his birth and thus the source of his wickedness. Upon learning the truth, he leaves his privileged home in Normandy to seek salvation. Robert’s lengthy penance—under the aegis of the Pope and a pious hermit—begins with his acting as a mute fool in the Roman Emperor’s court and ends with his sainthood. In between he plays the hero’s role in defeating the Turks in battle and turns down the hand of the Emperor’s daughter in marriage, choosing instead to return to the hermit’s abode.The legend of Robert le Diable was extraordinarily influential in the seven hundred years after its creation, generating new versions and adaptations in various languages, ranging from sixteenth-century English adaptations by Wynken de Worde and Thomas Lodge to Giacomo Meyerbeer’s esteemed 1831 opera. Framed by a thoughtful introduction and thorough bibliography, this accessible translation renders the original octosyllabic rhymed couplets of the metrical Old French romance in energetic free verse.

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This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior.Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges.Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

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Personal genome testing, gene editing for life-threatening diseases, synthetic life: once the stuff of science fiction, twentieth- and twenty-first-century advancements blur the lines between scientific narrative and scientific fact. This examination of bioengineering in popular and literary culture shows that the influence of science on science fiction is more reciprocal than we might expect.Looking closely at the work of Margaret Atwood, Richard Powers, and other authors, as well as at film, comics, and serial television such as Orphan Black, Everett Hamner shows how the genome age is transforming both the most commercial and the most sophisticated stories we tell about the core of human personhood. As sublime technologies garner public awareness beyond the genre fiction shelves, they inspire new literary categories like “slipstream” and shape new definitions of the human, the animal, the natural, and the artificial. In turn, what we learn of bioengineering via popular and literary culture prepares the way for its official adoption or restriction—and for additional representations. By imagining the connections between emergent gene testing and editing capacities and long-standing conversations about freedom and determinism, these stories help build a cultural zeitgeist with a sharper, more balanced vision of predisposed agency.A compelling exploration of the interrelationships among science, popular culture, and self, Editing the Soul sheds vital light on what the genome age means to us, and what’s to come.

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In an era increasingly marked by polarized and unproductive political debates, this volume makes the case for a renewed emphasis on teaching speech and debate, both in and outside of the classroom.Speech and debate education leads students to better understand their First Amendment rights and the power of speaking. It teaches them to work together collaboratively to solve problems, and it encourages critical thinking, reasoned and fact-based argumentation, and respect for differing viewpoints in our increasingly diverse and global society. Highlighting the need for more emphasis on the ethics and skills of democratic deliberation, the contributors to this volume—leading scholars, teachers, and coaches in speech and debate programs around the country—offer new ideas for reinvigorating curricular and co-curricular speech and debate by recovering and reinventing their historical mission as civic education.Combining historical case studies, theoretical reflections, and reports on programs that utilize rhetorical pedagogies to educate for citizenship, Speech and Debate as Civic Education is a first-of-its-kind collection of the best ideas for reinventing and revitalizing the civic mission of speech and debate for a new generation of students.In addition to the editors, the contributors to this volume include Jenn Anderson, Michael D. Bartanen, Ann Crigler, Sara A. Mehltretter Drury, David A. Frank, G. Thomas Goodnight, Ronald Walter Greene, Taylor W. Hahn, Darrin Hicks, Edward A. Hinck, Jin Huang, Una Kimokeo-Goes, Rebecca A. Kuehl, Lorand Laskai, Tim Lewis, Robert S. Littlefield, Allan D. Louden, Paul E. Mabrey III, Jamie McKown, Gordon R. Mitchell, Catherine H. Palczewski, Angela G. Ray, Robert C. Rowland, Minhee Son, Sarah Stone Watt, Melissa Maxcy Wade, David Weeks, Carly S. Woods, and David Zarefsky.

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The Prado takes an unconventional look at Spain’s most iconic art museum. Focusing on the Prado as a space of urban leisure, Eugenia Afinoguénova highlights the political history of the museum’s relation to the monarchy, the church, and the liberal nation-state, as well as its role as an extension of Madrid’s social center, the Prado Promenade.Rather than assume that visitors agreed about how to interpret the museum, Afinoguénova approaches the history of the Prado as a debate about culture and leisure. Just like those crossing the museum’s threshold, who did not always trace a firm line between what they could see or do inside the building and outside on the Paseo del Prado, the participants in this debate—journalists, politicians, museum directors, art critics—considered museum-going to be part of a broader discussion concerning citizenship and voting rights, the rise of Madrid to the status of a modern capital, and the growing gap between town and country.Based on extensive archival research on the museum’s displays and policies as well as the attitudes of visitors and city-dwellers, The Prado unfolds the museum’s many political and propagandistic roles and examines its complicated history as a monument to the tension between culture and leisure. Art historians and scholars of museum studies and visual and leisure culture will find this foundational study of the Prado invaluable.

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Pentecostalism is one of the most rapidly expanding religious-cultural forms in the world. Its rise in popularity is often attributed to its successfully incorporating native cosmologies in new religious frameworks. This volume probes for more complex explanations to this phenomenon in the favelas of Brazil, once one of the most Catholic nations in the world.Based on a decade of ethnographic fieldwork in Rio de Janeiro and drawing from religious studies, anthropology of religion, and media theory, Transmitting the Spirit argues that the Pentecostal movement’s growth is due directly to its ability to connect politics, entertainment, and religion. Examining religious and secular media—music and magazines, political ads and telenovelas—Martijn Oosterbaan shows how Pentecostal leaders progressively appropriate and recategorize cultural forms according to the religion’s cosmologies. His analysis of the interrelationship among evangélicos distributing doctrine, devotees’ reception and interpretation of nonreligious messaging, perceptions of the self and others by favela dwellers, and the slums of urban Brazil as an entity reveals Pentecostalism’s remarkable capacity to engage with the media influences that shape daily life in economically vulnerable urban areas.An eye-opening look at Pentecostalism, media, society, and culture in the turbulent favelas of Brazil, this book sheds new light on both the evolving role of religion in Latin America and the proliferation of religious ideas and practices in the postmodern world.

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From bears on the Renaissance stage to the equine pageantry of the nineteenth-century hunt, animals have been used in human-orchestrated entertainments throughout history. The essays in this volume present an array of case studies that inspire new ways of interpreting animal performance and the role of animal agency in the performing relationship.In exploring the human-animal relationship from the early modern period to the nineteenth century, Performing Animals questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal’s presence. The contributors discuss the role of animals in venues as varied as medieval plays, natural histories, dissections, and banquets, and they raise provocative questions about animals’ agency. In so doing, they demonstrate the innovative potential of thinking beyond the boundaries of the present in order to dismantle the barriers that have traditionally divided human from animal.From fleas to warhorses to animals that “perform” even after death, this delightfully varied volume brings together examples of animals made to “act” in ways that challenge obvious notions of performance. The result is an eye-opening exploration of human-animal relationships and identity that will appeal greatly to scholars and students of animal studies, performance studies, and posthuman studies.In addition to the editors, the contributors are Todd Andrew Borlik, Pia F. Cuneo, Kim Marra, Richard Nash, Sarah E. Parker, Rob Wakeman, Kari Weil, and Jessica Wolfe.

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