Search results for ""University of Texas Press""

A time-traveling field guide to the ancient version of Big Bend National Park. The sheer beauty of Big Bend National Park, along the shores of the Rio Grande in west Texas, never fails to astonish. Yet what lies beneath this natural treasure may be even more extraordinary than what meets the eye. Hidden in the rocks of Big Bend are the remains of giants: toothy sea lizards, enormous flying reptiles, and dinosaurs. Dinosaurs and Other Ancient Animals of Big Bend is a field guide to what once was. Inspired by the latest research, Cindi Sirois Collins and Asher Elbein imagine what it was like to walk among the plants and animals whose fossil remains tell the story of evolution and geological transformation in this singular landscape. We glimpse the drama of Big Bend’s rugged landscape in creation—the desert’s emergence from retreating oceans and volcanic eruptions. Immersive vignettes introduce dinosaurs, giant fish, and saber-toothed cats. And the history of discovery in the park proves a gripping tale, as paleontologists sifted major scientific insights from the soils, rocks, and riverbeds. Complete with vivid illustrations, this is a wholly original sensory and narrative experience that will deepen any reader’s knowledge and sense of wonder.

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Melding the rural and the urban with the local, regional, and global, Levantine cuisine is a mélange of ingredients, recipes, and modes of consumption rooted in the Eastern Mediterranean. Making Levantine Cuisine provides much-needed scholarly attention to the region’s culinary cultures while teasing apart the tangled histories and knotted migrations of food. Akin to the region itself, the culinary repertoires that comprise Levantine cuisine endure and transform—are unified but not uniform. This book delves into the production and circulation of sugar, olive oil, and pistachios; examines the social origins of kibbe, Adana kebab, shakshuka, falafel, and shawarma; and offers a sprinkling of family recipes along the way. The histories of these ingredients and dishes, now so emblematic of the Levant, reveal the processes that codified them as national foods, the faulty binaries of Arab or Jewish and traditional or modern, and the global nature of foodways. Making Levantine Cuisine draws from personal archives and public memory to illustrate the diverse past and persistent cultural unity of a politically divided region.

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More than fifteen years later, Hurricane Katrina maintains a strong grip on the American imagination. The reason is not simply that Katrina was an event of enormous scale, although it certainly was by any measure one of the most damaging storms in American history. But, quite apart from its lethality and destructiveness, Katrina retains a place in living memory because it is one of the most telling disasters in our recent national experience, revealing important truths about our society and ourselves. The final volume in the award-winning Katrina Bookshelf series The Continuing Storm reflects upon what we have learned about Katrina and about America. Kai Erikson and Lori Peek expand our view of the disaster by assessing its ongoing impact on individual lives and across the wide-ranging geographies where displaced New Orleanians landed after the storm. Such an expanded view, the authors argue, is critical for understanding the human costs of catastrophe across time and space. Concluding with a broader examination of disasters in the years since Katrina—including COVID-19—The Continuing Storm is a sobering meditation on the duration of a catastrophe that continues to exact steep costs in human suffering.

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Gang-related violence has forced thousands of Hondurans to flee their country, leaving behind everything as refugees and undocumented migrants abroad. To uncover how this happened, Jon Carter looks back to the mid-2000s, when neighborhood gangs were scrambling to survive state violence and mass incarceration, locating there a critique of neoliberal globalization and state corruption that foreshadows Honduras’s current crises.Carter begins with the story of a thirteen-year-old gang member accused in the murder of an undercover DEA agent, asking how the nation’s seductive criminal underworld has transformed the lives of young people. He then widens the lens to describe a history of imperialism and corruption that shaped this underworld—from Cold War counterinsurgency to the “War on Drugs” to the near-impunity of white-collar crime—as he follows local gangs who embrace new trades in the illicit economy. Carter describes the gangs’ transformation from neighborhood groups to sprawling criminal societies, even in the National Penitentiary, where they have become political as much as criminal communities. Gothic Sovereignty reveals not only how the revolutionary potential of gangs was lost when they merged with powerful cartels but also how close analysis of criminal communities enables profound reflection on the economic, legal, and existential discontents of globalization in late liberal nation-states.

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Gang-related violence has forced thousands of Hondurans to flee their country, leaving behind everything as refugees and undocumented migrants abroad. To uncover how this happened, Jon Carter looks back to the mid-2000s, when neighborhood gangs were scrambling to survive state violence and mass incarceration, locating there a critique of neoliberal globalization and state corruption that foreshadows Honduras’s current crises.Carter begins with the story of a thirteen-year-old gang member accused in the murder of an undercover DEA agent, asking how the nation’s seductive criminal underworld has transformed the lives of young people. He then widens the lens to describe a history of imperialism and corruption that shaped this underworld—from Cold War counterinsurgency to the “War on Drugs” to the near-impunity of white-collar crime—as he follows local gangs who embrace new trades in the illicit economy. Carter describes the gangs’ transformation from neighborhood groups to sprawling criminal societies, even in the National Penitentiary, where they have become political as much as criminal communities. Gothic Sovereignty reveals not only how the revolutionary potential of gangs was lost when they merged with powerful cartels but also how close analysis of criminal communities enables profound reflection on the economic, legal, and existential discontents of globalization in late liberal nation-states.

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At least 200,000 people have died in Mexico’s so-called drug war, and the worst suffering has been in Ciudad Juárez, across the border from El Paso, Texas. How did it get so bad? After three decades studying that question, Howard Campbell doesn’t believe there is any one answer. Misguided policies, corruption, criminality, and the borderland economy are all factors. But none of these reasons explain how violence in downtown Juárez has become heartbreakingly “normal.”A rigorous yet moving account, Downtown Juárez is informed by the sex workers, addicts, hustlers, bar owners, human smugglers, migrants, and down-and-out workers struggling to survive in an underworld where horrifying abuses have come to seem like the natural way of things. Even as Juárez’s elite northeast section thrives on the profits of multinational corporations, and law-abiding citizens across the city mobilize against crime and official malfeasance, downtown’s cantinas, barrios, and brothels are tyrannized by misery.Campbell’s is a chilling perspective, suggesting that, over time, violent acts feed off each other, losing their connection to any specific cause. Downtown Juárez documents this banality of evil—and confronts it—with the stories of those most affected.

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2023 Book Award, Society for American Archaeology A dramatic reappraisal of the Inka Empire through the lens of Qullasuyu. The Inka conquered an immense area extending across five modern nations, yet most English-language publications on the Inka focus on governance in the area of modern Peru. This volume expands the range of scholarship available in English by collecting new and notable research on Qullasuyu, the largest of the four quarters of the empire, which extended south from Cuzco into contemporary Bolivia, Argentina, and Chile. From the study of Qullasuyu arise fresh theoretical perspectives that both complement and challenge what we think we know about the Inka. While existing scholarship emphasizes the political and economic rationales underlying state action, Rethinking the Inka turns to the conquered themselves and reassesses imperial motivations. The book’s chapters, incorporating more than two hundred photographs, explore relations between powerful local lords and their Inka rulers; the roles of nonhumans in the social and political life of the empire; local landscapes remade under Inka rule; and the appropriation and reinterpretation by locals of Inka objects, infrastructure, practices, and symbols. Written by some of South America’s leading archaeologists, Rethinking the Inka is poised to be a landmark book in the field.

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Since 1935, roller derby has thrilled fans and skaters with its constant action, hard hits, and edgy attitude. However, though its participants’ athleticism is undeniable, roller derby has never been accepted as a “real” sport. Michella M. Marino, herself a former skater, tackles the history of a sport that has long been a cultural mainstay for one reason both utterly simple and infinitely complex: roller derby has always been coed.Richly illustrated and drawing on oral histories, archival materials, media coverage, and personal experiences, Roller Derby is the first comprehensive history of this cultural phenomenon, one enjoyed by millions yet spurned by mainstream gatekeepers. Amid the social constraints of the mid-twentieth century, roller derby’s emphasis on gender equality attracted male and female athletes alike, producing gender relations and gender politics unlike those of traditional sex-segregated sports. In an enlightening feminist critique, Marino considers how the promotion of pregnancy and motherhood by roller derby management has simultaneously challenged and conformed to social norms. Finally, Marino assesses the sport’s present and future after its resurgence in the 2000s.

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Mott KTA Journalism and Mass Communication Research Award, Kappa Tau AlphaTankard Book Award, Association for Education in Journalism and Mass Communication (AEJMC) Knudson Latin America Prize, Association for Education in Journalism and Mass Communication (AEJMC) Since 2000, more than 150 journalists have been killed in Mexico. Today the country is one of the most dangerous in the world in which to be a reporter. In Surviving Mexico, Celeste González de Bustamante and Jeannine E. Relly examine the networks of political power, business interests, and organized crime that threaten and attack Mexican journalists, who forge ahead despite the risks. Amid the crackdown on drug cartels, overall violence in Mexico has increased, and journalists covering the conflict have grown more vulnerable. But it is not just criminal groups that want reporters out of the way. Government forces also attack journalists in order to shield corrupt authorities and the very criminals they are supposed to be fighting. Meanwhile some news organizations, enriched by their ties to corrupt government officials and criminal groups, fail to support their employees. In some cases, journalists must wait for a “green light” to publish not from their editors but from organized crime groups. Despite seemingly insurmountable constraints, journalists have turned to one another and to their communities to resist pressures and create their own networks of resilience. Drawing on a decade of rigorous research in Mexico, González de Bustamante and Relly explain how journalists have become their own activists and how they hold those in power accountable.

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Tobe Hooper's productions, which often trespassed upon the safety of the family unit, cast a critical eye toward an America in crisis. Often dismissed by scholars and critics as a one-hit wonder thanks to his 1974 horror classic The Texas Chain Saw Massacre, Hooper nevertheless was instrumental in the development of a robust and deeply political horror genre from the 1960s until his death in 2017. In American Twilight, the authors assert that the director was an auteur whose works featured complex monsters and disrupted America's sacrosanct perceptions of prosperity and domestic security.American Twilight focuses on the skepticism toward American institutions and media and the articulation of uncanny spaces so integral to Hooper's vast array of feature and documentary films, made-for-television movies, television episodes, and music videos. From Egg Shells (1969) to Poltergeist (1982), Djinn (2013), and even Billy Idol's music video for "Dancing with Myself" (1985), Tobe Hooper provided a singular directorial vision that investigated masculine anxiety and subverted the idea of American exceptionalism.

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The Resurrection Plate, a Late Classic Maya dish, is decorated with an arresting scene. The Maize God, assisted by two other deities, emerges reborn from a turtle shell. At the center of the plate, in the middle of the god’s body and aligned with the point of emergence, there is a curious sight: a small, neatly drilled hole.Art historian Andrew Finegold explores the meanings attributed to this and other holes in Mesoamerican material culture, arguing that such spaces were broadly understood as conduits of vital forces and material abundance, prerequisites for the emergence of life. Beginning with, and repeatedly returning to, the Resurrection Plate, this study explores the generative potential attributed to a wide variety of cavities and holes in Mesoamerica, ranging from the perforated dishes placed in Classic Maya burials, to caves and architectural voids, to the piercing of human flesh. Holes are also discussed in relation to fire, based on the common means through which both were produced: drilling. Ultimately, by attending to what is not there, Vital Voids offers a fascinating approach to Mesoamerican cosmology and material culture.

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A groundbreaking collection of experimental short fiction by award-winning Syrian author and Booker International Prize for Arabic Fiction nominee Shahla Ujayli, A Bed for the King’s Daughter uses surrealism and irony to examine such themes as women’s agency, the decline of collective life and imagination under modernity, and the effects of social and political corruption on daily life. In “The Memoir of Cinderella’s Shoes,” Cinderella uses her famous glass slipper as a weapon in order to take justice into her own hands. In “Tell Me About Surrealism,” an art history professor’s writing assignment reveals the slipperiness of storytelling, and in “Merry Christmas,” the realities of apartheid interfere with one family’s celebration. Through twenty-two short stories, Ujayli animates—with brevity and inventiveness—themes relevant to both the particularities of life in the Arab world and life outside it.

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2022 Americo Paredes Award, Center for Mexican American Studies at South Texas CollegeA historical exploration of the worlds and healing practices of two curanderos (faith healers) who attracted thousands, rallied their communities, and challenged institutional powers. Santa Teresa Urrea and Don Pedrito Jaramillo were curanderos—faith healers—who, in the late nineteenth and early twentieth centuries, worked outside the realm of "professional medicine," seemingly beyond the reach of the church, state, or certified health practitioners whose profession was still in its infancy. Urrea healed Mexicans, Indigenous people, and Anglos in northwestern Mexico and cities throughout the US Southwest, while Jaramillo conducted his healing practice in the South Texas Rio Grande Valley, healing Tejanos, Mexicans, and Indigenous people there. Jennifer Koshatka Seman takes us inside the intimate worlds of both "living saints," demonstrating how their effective healing—curanderismo—made them part of the larger turn-of-the century worlds they lived in as they attracted thousands of followers, validated folk practices, and contributed to a modernizing world along the US-Mexico border. While she healed, Urrea spoke of a Mexico in which one did not have to obey unjust laws or confess one's sins to Catholic priests. Jaramillo restored and fed drought-stricken Tejanos when the state and modern medicine could not meet their needs. Then, in 1890, Urrea was expelled from Mexico. Within a decade, Jaramillo was investigated as a fraud by the American Medical Association and the US Post Office. Borderlands Curanderos argues that it is not only state and professional institutions that build and maintain communities, nations, and national identities but also those less obviously powerful.

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During the first centuries of the Roman Empire, Greek intellectuals wrote a great many texts modeled on the dialect and literature of Classical Athens, some 500 years prior. Among the most successful of these literary figures were sophists, whose highly influential display oratory has been the prevailing focus of scholarship on Roman Greece over the past fifty years. Often overlooked are the period’s historians, who spurned sophistic oral performance in favor of written accounts. One such author is Arrian of Nicomedia.Daniel W. Leon examines the works of Arrian to show how the era's historians responded to their sophistic peers’ claims of authority and played a crucial role in theorizing the past at a time when knowledge of history was central to defining Greek cultural identity. Best known for his history of Alexander the Great, Arrian articulated a methodical approach to the study of the past and a notion of historical progress that established a continuous line of human activity leading to his present and imparting moral and political lessons. Using Arrian as a case study in Greek historiography, Leon demonstrates how the genre functioned during the Imperial Period and what it brings to the study of the Roman world in the second century.

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Standing on the Edmund Pettus Bridge in Selma, Alabama, in 2017, photographer William Abranowicz was struck by the weight of historical memory at this hallowed site of one of the civil rights movement's defining episodes: 1965's “Bloody Sunday,” when Alabama police officers attacked peaceful marchers. To Abranowicz’s eye, Selma seemed relatively unchanged from its apperance in the photographs Walker Evans made there in the 1930s. That, coupled with an awareness of renewed voter suppression efforts at state and federal levels, inspired Abranowicz to explore the living legacy of the civil and voting rights movement through photographing locations, landscapes, and individuals associated with the struggle, from Rosa Parks and Harry Belafonte to the barn where Emmett Till was murdered.The result is This Far and No Further, a collection of photographs from Abranowicz's journey through the American South. Through symbolism, metaphor, and history, he unearths extraordinary stories of brutality, heroism, sacrifice, and redemption hidden within ordinary American landscapes, underscoring the crucial necessity of defending—and exercising—our right to vote at this tenuous moment for American democracy.

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2021 Jim Parish Award for Documentation and Publication of Local and Regional History, Webb County Heritage Foundation For 120 years, residents of the cross-border community of Laredo/Nuevo Laredo have celebrated George Washington's birthday together, and this account reveals the essential political work of a time-honored civic tradition. Since 1898, residents of Laredo, Texas, and Nuevo Laredo, Tamaulipas, have reached across the US-Mexico border to celebrate George Washington's birthday. The celebration can last a whole month, with parade goers reveling in American and Mexican symbols; George Washington saluting; and “Pocahontas” riding on horseback. An international bridge ceremony, the heart and soul of the festivities, features children from both sides of the border marching toward each other to link the cities with an embrace. ¡Viva George! offers an ethnography and a history of this celebration, which emerges as both symbol and substance of cross-border community life. Anthropologist and Laredo native Elaine A. Peña shows how generations of border officials, civil society organizers, and everyday people have used the bridge ritual to protect shared economic and security interests as well as negotiate tensions amid natural disasters, drug-war violence, and immigration debates. Drawing on previously unknown sources and extensive fieldwork, Peña finds that border enactments like Washington's birthday are more than goodwill gestures. From the Rio Grande to the 38th Parallel, they do the meaningful political work that partisan polemics cannot.

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Winner, Best First Monograph, British Association of Film, Television and Screen Studies In the 1980s and 1990s, John Hughes was one of Hollywood's most reliable hitmakers, churning out beloved teen comedies and family films such as The Breakfast Club and Home Alone, respectively. But was he an artist? Hughes, an adamantly commercial filmmaker who was dismissed by critics, might have laughed at the question. Since his death in 2009, though, he has been memorialized on Oscar night as a key voice of his time. Now the critics lionize him as a stylistic original. Holly Chard traces Hughes's evolution from entertainer to auteur. Studios recognized Hughes's distinctiveness and responded by nurturing his brand. He is therefore a case study in Hollywood's production not only of movies but also of genre and of authorship itself. The films of John Hughes, Chard shows, also owed their success to the marketers who sold them and the audiences who watched. Careful readings of Hughes's cinema reveal both the sources of his iconic status and the imprint on his films of the social, political, economic, and media contexts in which he operated. The first serious treatment of Hughes, Mainstream Maverick elucidates the priorities of the American movie industry in the New Hollywood era and explores how artists not only create but are themselves created.

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Cartography has a troubled history as a technology of power. The production and distribution of maps, often understood to be ideological representations that support the interests of their developers, have served as tools of colonization, imperialism, and global development, advancing Western notions of space and place at the expense of Indigenous peoples and other marginalized communities. But over the past two decades, these marginalized populations have increasingly turned to participatory mapping practices to develop new, innovative maps that reassert local concepts of place and space, thus harnessing the power of cartography in their struggles for justice.In twelve essays written by community leaders, activists, and scholars, Radical Cartographies critically explores the ways in which participatory mapping is being used by Indigenous, Afro-descendant, and other traditional groups in Latin America to preserve their territories and cultural identities. Through this pioneering volume, the authors fundamentally rethink the role of maps, with significant lessons for marginalized communities across the globe, and launch a unique dialogue about the radical edge of a new social cartography.

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Was Gasoline, Texas, named in honor of a gas station? Nope, but the name does honor the town’s original claim to fame: a gasoline-powered cotton gin. Is Paris, Texas, a reference to Paris, France? Yes: Thomas Poteet, who donated land for the town site, thought it would be an improvement over “Pin Hook,” the original name of the Lamar County seat. Ding Dong’s story has a nice ring to it; the name was derived from two store owners named Bell, who lived in Bell County, of course. Tracing the turning points, fascinating characters, and cultural crossroads that shaped Texas history, Texas Place Names provides the colorful stories behind these and more than three thousand other county, city, and community names.Drawing on in-depth research to present the facts behind the folklore, linguist Edward Callary also clarifies pronunciations (it’s NAY-chis for Neches, referring to a Caddoan people whose name was attached to the Neches River during a Spanish expedition). A great resource for road trippers and historians alike, Texas Place Names alphabetically charts centuries of humanity through the enduring words (and, occasionally, the fateful spelling gaffes) left behind by men and women from all walks of life.

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Complex, controversial, and prolific, Howard Barnstone was a central figure in the world of twentieth-century modern architecture. Recognized as Houston’s foremost modern architect in the 1950s, Barnstone came to prominence for his designs with partner Preston M. Bolton, which transposed the rigorous and austere architectural practices of Ludwig Mies van der Rohe to the hot, steamy coastal plain of Texas. Barnstone was a man of contradictions—charming and witty but also self-centered, caustic, and abusive—who shaped new settings that were imbued, at once, with spatial calm and emotional intensity.Making Houston Modern explores the provocative architect’s life and work, not only through the lens of his architectural practice but also by delving into his personal life, class identity, and connections to the artists, critics, collectors, and museum directors who forged Houston’s distinctive culture in the postwar era. Edited by three renowned voices in the architecture world, this volume situates Barnstone within the contexts of American architecture, modernism, and Jewish culture to unravel the legacy of a charismatic personality whose imaginative work as an architect, author, teacher, and civic commentator helped redefine architecture in Texas.

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For the past nine years, acclaimed historian H. W. Brands has been tweeting the history of the United States. But this has been no ordinary version of the American tale. Instead, Brands gives his 5,000-plus followers a regular dose of history and poetry combined: his tweets are in the form of haiku.Haiku History presents a selection of these smart, shrewd, and always informative short poems. “Shivers and specters / Flit over souls in Salem / As nineteen are hanged; describes the Salem witch trials, and “In angry war paint / Men board three Indiamen / And toss the cargo” depicts the Boston Tea Party. “Then an anarchist / Makes one of the war heroes / The next president” recalls the assassination of William McKinley and the accession of Teddy Roosevelt to the presidency, while “Second invasion: / Iraq, where Saddam is still / In troubling control” returns us to the invasion of Iraq in 2003. As he travels from the thirteen colonies to the 2016 election, Brands brings to life the wars, economic crises, social upheavals, and other events that have shaped our nation. A history book like no other, Haiku History injects both fun and poetry into the story of America—three lines at a time.

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Praise for Mezcal:"Mezcal is also a lyrical meditation upon the ultimate strength of the land, specifically the desert Southwest, and how that land prevails and endures despite every effort of modern industry and development to rape and savage it in the name of progress. Mezcal lingers in the mind as only the very best books manage to do."—Harry Crews"The author . . . excavates his own tormented life—and its relation to the land he loves—in a series of powerful, imagistic autobiographical essays. Like the desert he cherishes, this memoir is harsh yet lovely, full of sour self-truth. . . . A potent presentation of the wounds of one man's life, packed with indelible impressions; but there's little healing here, making this a bitter if beautiful read."—Kirkus Review "In Mezcal . . . Bowden drops the journalistic veil, exploring the ecology of his interior landscape at least as thoroughly as the changing scenery that surrounds him. . . . Others—Aldo Leopold, Edward Abbey—have already staked inviolate claims on the Southwestern deserts. But Bowden owns the complex terrain where, like a mezcal-inspired mirage, the Sonoran sun-belt overlaps the gray convolutions of the American mind."—Los Angeles Times

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Liz Carpenter Award for Research in the History of Women, Texas State Historical Association The essayist Adela Sloss-Vento (1901–1998) was a powerhouse of activism in South Texas’s Lower Rio Grande Valley throughout the Mexican American civil rights movement beginning in 1920 and the subsequent Chicano movement of the 1960s and 1970s. At last presenting the full story of Sloss-Vento’s achievements, Agent of Change revives a forgotten history of a major female Latina leader. Bringing to light the economic and political transformations that swept through South Texas in the 1920s as ranching declined and agribusiness proliferated, Cynthia E. Orozco situates Sloss-Vento’s early years within the context of the Jim Crow/Juan Crow era. Recounting Sloss-Vento’s rise to prominence as a public intellectual, Orozco highlights a partnership with Alonso S. Perales, the principal founder of the League of United Latin American Citizens. Agent of Change explores such contradictions as Sloss-Vento’s tolerance of LULAC’s gender-segregated chapters, even though the activist was an outspoken critic of male privilege in the home and a decidedly progressive wife and mother. Inspiring and illuminating, this is a complete portrait of a savvy, brazen critic who demanded reform on both sides of the US-Mexico border.

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When the venerable historian Norman D. Brown published Hood, Bonnet, and Little Brown Jug in 1984, he earned national acclaim for revealing the audacious tactics at play in Texas politics during the Roaring Twenties, detailing the effects of the Ku Klux Klan, newly enfranchised women, and Prohibition. Shortly before his death in 2015, Brown completed Biscuits, the Dole, and Nodding Donkeys, which picks up just as the Democratic Party was poised for a bruising fight in the 1930 primary. Charting the governorships of Dan Moody, Ross Sterling, Miriam “Ma” Ferguson in her second term, and James V. Allred, this engrossing sequel takes its title from the notion that Texas politicians should give voters what they want (“When you cease to deliver the biscuits they will not be for you any longer,” said Jim “Pa” Ferguson) while remaining wary of federal assistance (the dole) in a state where the economy is fueled by oil pump jacks (nodding donkeys).Taking readers to an era when a self-serving group of Texas politicians operated in a system that was closed to anyone outside the state’s white, wealthy echelons, Brown unearths a riveting, little-known history whose impact continues to ripple at the capitol.

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Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters.Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

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In 1999, Venezuela became the first country in the world to constitutionally recognize the socioeconomic value of housework and enshrine homemakers’ social security. This landmark provision was part of a larger project to transform the state and expand social inclusion during Hugo Chávez’s presidency. The Bolivarian revolution opened new opportunities for poor and working-class—or popular—women’s organizing. The state recognized their unpaid labor and maternal gender role as central to the revolution. Yet even as state recognition enabled some popular women to receive public assistance, it also made their unpaid labor and organizing vulnerable to state appropriation.Offering the first comprehensive analysis of this phenomenon, Engendering Revolution demonstrates that the Bolivarian revolution cannot be understood without comprehending the gendered nature of its state-society relations. Showcasing field research that comprises archival analysis, observation, and extensive interviews, these thought-provoking findings underscore the ways in which popular women sustained a movement purported to exalt them, even while many could not access social security and remained socially, economically, and politically vulnerable.

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The first book to focus on the multifaceted images of deer and hunting in ancient Maya art, from the award-winning author of To Be Like Gods: Dance in Ancient Maya Civilization.Winner, CHOICE Outstanding Academic Title, 2019The white-tailed deer had a prominent status in Maya civilization: it was the most important wild-animal food source at many inland Maya sites and also functioned as a major ceremonial symbol. Offering an in-depth semantic analysis of this imagery, The Beast Between considers iconography, hieroglyphic texts, mythological discourses, and ritual narratives to translate the significance and meaning of the vibrant metaphors expressed in a variety of artifacts depicting deer and hunting.Charting the importance of deer as a key component of the Maya diet, especially for elites, and analyzing the coupling of deer and maize in the Maya worldview, The Beast Between reveals a close and long-term interdependence between the Maya and these animals. Not only are deer depicted naturalistically in hunting and ritual scenes, but also they are assigned human attributes. This rich imagery reflects the many ways in which deer hunting was linked to status, sexuality, and war as part of a deeper process to ensure the regeneration of both agriculture and ancestry. Drawing on methodologies of art history, archaeology, and ethnology, this illuminating work is poised to become a key resource for multiple fields.

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Reclaiming the notion of literature as an institution essential for reflecting on the violence of culture, history, and politics, Violence and Naming exposes the tension between the irreducible, constitutive violence of language and the reducible, empirical violation of others. Focusing on an array of literary artifacts, from works by journalists such as Elena Poniatowska and Sergio González Rodríguez to the Zapatista communiqués to Roberto Bolaño's The Savage Detectives and 2666, this examination demonstrates that Mexican culture takes place as a struggle over naming—with severe implications for the rights and lives of women and indigenous persons.Through rereadings of the Conquest of Mexico, the northern Mexican feminicide, the Zapatista uprising in Chiapas, the disappearance of the forty-three students at Iguala in 2014, and the 1999 abortion-rights scandal centering on “Paulina,” which revealed the tenuousness of women’s constitutionally protected reproductive rights in Mexico, Violence and Naming asks how societies can respond to violence without violating the other. This essential question is relevant not only to contemporary Mexico but to all struggles for democracy that promise equality but instead perpetuate incessant cycles of repression.

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Launching his curatorial career at the George Eastman House in 1957, Nathan Lyons (1930–2016) soon made a mark in the museum world and in his workshops for photographers and curators alike. Yet his supporting role in the careers of rising stars such as Lee Friedlander and Garry Winogrand sometimes eclipsed the public’s awareness of Lyons’s own pioneering photography. Coinciding with a major exhibition at the George Eastman Museum in 2019, Nathan Lyons: In Pursuit of Magic is a long-overdue celebration of Lyons’s astonishing body of work.Featuring more than two hundred and fifty compelling images, accompanied by critical essays, the book charts the distinct phases of Lyons’s career. His early work, exemplified by his exuberant initiatives of the 1960s—the Visual Studies Workshop and the Society for Photographic Education—demonstrated that street photography and formalism are not mutually exclusive, as university photography courses began migrating from journalism to art departments. His final years, which included a shift to color at age eighty, are also explored in depth. A companion to Nathan Lyons: Selected Essays, Lectures, and Interviews, this is the definitive visual sourcebook on a highly influential innovator.

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The Wind Traveler showcases the mesmerizing storytelling of Alonso Cueto at the top of his career. At the heart of his latest work is a seemingly ordinary man named Ángel, who sells kitchenware at a store in Lima. In the early 1990s, he had served as an army soldier, engaging in brutal acts whose aftermath still reverberates. He is forced to reckon with his past when a woman he was instructed to kill enters the store and buys a few items. How can she still be alive? What's more, how can she not recognize Ángel? Remarkably, she asks him to deliver her purchases to her house. From this moment, Ángel feels compelled to make amends through any means necessary, even if it requires sacrificing his life of quiet retirement.A stirring tribute to the wounded souls who yearn to make peace with the past, The Wind Traveler offers a new vision of the fragile human connections that sustain a deeply fractured world.

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One of the country’s most picturesque cities and conveniently located just a few hours’ drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood’s move from studio to location production in the postwar era.In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America’s growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.

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Embracing a new religion, or leaving one’s faith, usually constitutes a significant milestone in a person’s life. While a number of scholars have examined the reasons why people convert to Islam, few have investigated why people leave the faith and what the consequences are for doing so. Taking a holistic approach to conversion and deconversion, Moving In and Out of Islam explores the experiences of people who have come into the faith along with those who have chosen to leave it—including some individuals who have both moved into and out of Islam over the course of their lives.Sixteen empirical case studies trace the processes of moving in or out of Islam in Western and Central Europe, the United States, Canada, and the Middle East. Going beyond fixed notions of conversion or apostasy, the contributors focus on the ambiguity, doubts, and nonlinear trajectories of both moving in and out of Islam. They show how people shifting in either direction have to learn or unlearn habits and change their styles of clothing, dietary restrictions, and ways of interacting with their communities. They also look at how communities react to both converts to the religion and converts out of it, including controversies over the death penalty for apostates. The contributors cover the political aspects of conversion as well, including debates on radicalization in the era of the “war on terror” and the role of moderate Islam in conversions.

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When Stoner was published in 1965, the novel sold only a couple of thousand copies before disappearing with hardly a trace. Yet John Williams’s quietly powerful tale of a Midwestern college professor, William Stoner, whose life becomes a parable of solitude and anguish eventually found an admiring audience in America and especially in Europe. The New York Times called Stoner “a perfect novel,” and a host of writers and critics, including Colum McCann, Julian Barnes, Bret Easton Ellis, Ian McEwan, Emma Straub, Ruth Rendell, C. P. Snow, and Irving Howe, praised its artistry. The New Yorker deemed it “a masterly portrait of a truly virtuous and dedicated man.”The Man Who Wrote the Perfect Novel traces the life of Stoner’s author, John Williams. Acclaimed biographer Charles J. Shields follows the whole arc of Williams’s life, which in many ways paralleled that of his titular character, from their shared working-class backgrounds to their undistinguished careers in the halls of academia. Shields vividly recounts Williams’s development as an author, whose other works include the novels Butcher’s Crossing and Augustus (for the latter, Williams shared the 1972 National Book Award). Shields also reveals the astonishing afterlife of Stoner, which garnered new fans with each American reissue, and then became a bestseller all over Europe after Dutch publisher Lebowski brought out a translation in 2013. Since then, Stoner has been published in twenty-one countries and has sold over a million copies.

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The broadcasting industry’s trade association, the National Association of Broadcasters (NAB), sought to sanitize television content via its self-regulatory document, the Television Code. The Code covered everything from the stories, images, and sounds of TV programs (no profanity, illicit sex and drinking, negative portrayals of family life and law enforcement officials, or irreverence for God and religion) to the allowable number of commercial minutes per hour of programming. It mandated that broadcasters make time for religious programming and discouraged them from charging for it. And it called for tasteful and accurate coverage of news, public events, and controversial issues.Using archival documents from the Federal Communications Commission, NBC, the NAB, and a television reformer, Senator William Benton, this book explores the run-up to the adoption of the 1952 Television Code from the perspectives of the government, TV viewers, local broadcasters, national networks, and the industry’s trade association. Deborah L. Jaramillo analyzes the competing motives and agendas of each of these groups as she builds a convincing case that the NAB actually developed the Television Code to protect commercial television from reformers who wanted more educational programming, as well as from advocates of subscription television, an alternative distribution model to the commercial system. By agreeing to self-censor content that viewers, local stations, and politicians found objectionable, Jaramillo concludes, the NAB helped to ensure that commercial broadcast television would remain the dominant model for decades to come.

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A study of the largely hidden world of primary media market research and the different methods used to understand how the viewer is pictured in the industry. The first book on the intersection between market research and media, Creating the Viewer takes a critical look at media companies’ studies of television viewers, the assumptions behind these studies, and the images of the viewer that are constructed through them. Justin Wyatt examines various types of market research, including talent testing, pilot testing, series maintenance, brand studies, and new show “ideation,” providing examples from a range of programming including news, sitcoms, reality shows, and dramas. He looks at brand studies for networks such as E!, and examines how the brands of individuals such as showrunner Ryan Murphy can be tested. Both an analytical and practical work, the book includes sample questionnaires and paths for study moderators and research analysts to foll

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Winner, Publication Award, Southeastern Chapter of the Society of Architectural Historians (SESAH), 2019Acclaimed for his designs of the Trinity University campus, the Little Chapel in the Woods, the Texas Instruments Semiconductor Components Division Building, and numerous private houses, O’Neil Ford (1905–1982) was an important twentieth-century architect and a pioneer of modernism in Texas. Collaborating with artists, landscape architects, and engineers, Ford created diverse and enduringly rich works that embodied and informed international developments in modern architecture. His buildings, lectures, and teaching influenced a generation of Texas architects.O’Neil Ford on Architecture brings together Ford’s major professional writings and speeches for the first time. Revealing the intellectual and theoretical underpinnings of his distinctive modernism, they illuminate his fascination with architectural history, his pioneering uses of new technologies and construction systems, his deep concerns for the landscape and environment, and his passionate commitments to education and civil rights. An interlocutor with titans of the twentieth century, including Louis Kahn and J. Robert Oppenheimer, Ford understood architecture as inseparable from the social, political, and scientific developments of his day. An introductory essay by Kathryn E. O’Rourke provides a critical assessment of Ford’s essays and lectures and repositions him in the history of US architectural modernism. As some of his most important buildings turn sixty, O’Neil Ford on Architecture demonstrates that this Texas modernist deserves to be ranked among the leading midcentury American architects.

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2020 National Association for Chicana and Chicano Studies (NACCS) Book Award Winner Honorable Mention, Ramirez Family Award for Most Significant Scholarly Book, Texas Institute of Letters, 2019Managed Migrations examines the concurrent development of a border agricultural industry and changing methods of border enforcement in the Rio Grande Valley of Texas during the past century. Needed at one moment, scorned at others, Mexican agricultural workers have moved back and forth across the US–Mexico border for the past century. In South Texas, Anglo growers’ dreams of creating a modern agricultural empire depended on continuous access to Mexican workers. While this access was officially regulated by immigration laws and policy promulgated in Washington, DC, in practice the migration of Mexican labor involved daily, on-the-ground negotiations among growers, workers, and the US Border Patrol. In a very real sense, these groups set the parameters of border enforcement policy. Managed Migrations examines the relationship between immigration laws and policy and the agricultural labor relations of growers and workers in South Texas and El Paso during the 1940s and 1950s. Cristina Salinas argues that immigration law was mainly enacted not in embassies or the halls of Congress but on the ground, as a result of daily decisions by the Border Patrol that growers and workers negotiated and contested. She describes how the INS devised techniques to facilitate high-volume yearly deportations and shows how the agency used these enforcement practices to manage the seasonal agricultural labor migration across the border. Her pioneering research reveals the great extent to which immigration policy was made at the local level, as well as the agency of Mexican farmworkers who managed to maintain their mobility and kinship networks despite the constraints of grower paternalism and enforcement actions by the Border Patrol.

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During the period of Aztec expansion and empire (ca. 1325–1525), scribes of high social standing used a pictographic writing system to paint hundreds of manuscripts detailing myriad aspects of life, including historical, calendric, and religious information. Following the Spanish conquest, native and mestizo tlacuiloque (artist-scribes) of the sixteenth century continued to use pre-Hispanic pictorial writing systems to record information about native culture. Three of these manuscripts—Codex Boturini, Codex Azcatitlan, and Codex Aubin—document the origin and migration of the Mexica people, one of several indigenous groups often collectively referred to as “Aztec.”In Portraying the Aztec Past, Angela Herren Rajagopalan offers a thorough study of these closely linked manuscripts, articulating their narrative and formal connections and examining differences in format, style, and communicative strategies. Through analyses that focus on the materials, stylistic traits, facture, and narrative qualities of the codices, she places these annals in their historical and social contexts. Her work adds to our understanding of the production and function of these manuscripts and explores how Mexica identity is presented and framed after the conquest.

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Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project.Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.

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Honorable Mention, Bandelier/Lavrin Book Award in Colonial Latin America, Rocky Mountain Council on Latin American Studies (RMCLAS), 2019 Honorable Mention, The Alfred B. Thomas Book Award, Southeastern Council of Latin American Studies (SECOLAS), 2019Scholars have written reams on the conquest of Mexico, from the grand designs of kings, viceroys, conquistadors, and inquisitors to the myriad ways that indigenous peoples contested imperial authority. But the actual work of establishing the Spanish empire in Mexico fell to a host of local agents—magistrates, bureaucrats, parish priests, ranchers, miners, sugar producers, and many others—who knew little and cared less about the goals of their superiors in Mexico City and Madrid. Through a case study of the province of Michoacán in western Mexico, Promiscuous Power focuses on the prosaic agents of colonialism to offer a paradigm-shifting view of the complexities of making empire at the ground level.Presenting rowdy, raunchy, and violent life histories from the archives, Martin Austin Nesvig reveals that the local colonizers of Michoacán were primarily motivated by personal gain, emboldened by the lack of oversight from the upper echelons of power, and thoroughly committed to their own corporate memberships. His findings challenge some of the most deeply held views of the Spanish colonization of Mexico, including the Black Legend, which asserts that the royal state and the institutional church colluded to produce a powerful Catholicism that crushed heterodoxy, punished cultural difference, and ruined indigenous worlds. Instead, Nesvig finds that Michoacán—typical of many frontier provinces of the empire—became a region of refuge from imperial and juridical control and formal Catholicism, where the ordinary rules of law, jurisprudence, and royal oversight collapsed in the entropy of decentralized rule.

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Public protests are a vital tool for asserting grievances and creating temporary, yet tangible, communities as the world becomes more democratic and urban in the twenty-first century. While the political and social aspects of protest have been extensively studied, little attention has been paid to the physical spaces in which protests happen. Yet place is a crucial aspect of protests, influencing the dynamics and engagement patterns among participants. In The Design of Protest, Tali Hatuka offers the first extensive discussion of the act of protest as a design: that is, a planned event in a space whose physical geometry and symbolic meaning are used and appropriated by its organizers, who aim to challenge socio-spatial distance between political institutions and the people they should serve.Presenting case studies from around the world, including Tiananmen Square in Beijing; the National Mall in Washington, DC; Rabin Square in Tel Aviv; and the Plaza de Mayo in Buenos Aires, Hatuka identifies three major dimensions of public protests: the process of planning the protest in a particular place; the choice of spatial choreography of the event, including the value and meaning of specific tactics; and the challenges of performing contemporary protests in public space in a fragmented, complex, and conflicted world. Numerous photographs, detailed diagrams, and plans complement the case studies, which draw upon interviews with city officials, urban planners, and protesters themselves.

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As the largest private employer in the world, Walmart dominates media and academic debate about the global expansion of transnational retail corporations and the working conditions in retail operations and across the supply chain. Yet far from being a monolithic force conquering the world, Walmart must confront and adapt to diverse policies and practices pertaining to regulation, economy, history, union organization, preexisting labor cultures, and civil society in every country into which it enters. This transnational aspect of the Walmart story, including the diversity and flexibility of its strategies and practices outside the United States, is mostly unreported.Walmart in the Global South presents empirical case studies of Walmart’s labor practices and supply chain operations in a number of countries, including Chile, Brazil, Argentina, Nicaragua, Mexico, South Africa, and Thailand. It assesses the similarities and differences in Walmart’s acceptance into varying national contexts, which reveals when and how state regulation and politics have served to redirect company practice and to what effect. Regulatory context, state politics, trade unions, local cultures, and global labor solidarity emerge as vectors with very different force around the world. The volume’s contributors show how and why foreign workers have successfully, though not uniformly, driven changes in Walmart’s corporate culture. This makes Walmart in the Global South a practical guide for organizations that promote social justice and engage in worker struggles, including unions, worker centers, and other nonprofit entities.

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The Little Orange Book II: Student Voices on Excellent Teaching is an anthology of essays on the topic of excellent teachers, teaching, and learning, written by students, university presidents, and faculty from across the University of Texas System’s eight academic institutions. Unlike the essays in the Academy’s first publication, The Little Orange Book: Short Lessons in Excellent Teaching—which can be downloaded for free on Apple iBooks—the essays in The Little Orange Book II focus less on strategies for effective teaching and more on students’ perspectives on what elements combine to create the unique constellation of characteristics that excellent teachers possess. The result is a mosaic of voices that call attention to a range of relevant topics, from the role educators play in improving the mental health of students, to the unique university experiences of nontraditional students and student athletes, to the need for empathy when dealing with students. This book offers extraordinary insight into the minds of students attending college in twenty-first-century Texas and is intended for all of those interested in university teaching and education more broadly.

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Brazilian popular culture, including music, dance, theater, and film, played a key role in transnational performance circuits—inter-American and transatlantic—from the latter nineteenth century to the middle of the twentieth century. Brazilian performers both drew inspiration from and provided models for cultural production in France, Portugal, Argentina, the United States, and elsewhere. These transnational exchanges also helped construct new ideas about, and representations of, “racial” identity in Brazil. Tropical Travels fruitfully examines how perceptions of “race” were negotiated within popular performance in Rio de Janeiro and how these issues engaged with wider transnational trends during the period.Lisa Shaw analyzes how local cultural forms were shaped by contact with imported performance traditions and transnational vogues in Brazil, as well as by the movement of Brazilian performers overseas. She focuses specifically on samba and the maxixe in Paris between 1910 and 1922, teatro de revista (the Brazilian equivalent of vaudeville) in Rio in the long 1920s, and a popular Brazilian female archetype, the baiana, who moved to and fro across national borders and oceans. Shaw demonstrates that these transnational encounters generated redefinitions of Brazilian identity through the performance of “race” and ethnicity in popular culture. Shifting the traditional focus of Atlantic studies from the northern to the southern hemisphere, Tropical Travels also contributes to a fuller understanding of inter-hemispheric cultural influences within the Americas.

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From Aunt Jemima and Uncle Ben to the Jolly Green Giant and Ronald McDonald, corporate icons sell billions of dollars’ worth of products. But only one of them was ever a real person—Colonel Sanders of Kentucky Fried Chicken/KFC. From a 1930s roadside café in Corbin, Kentucky, Harland Sanders launched a fried chicken business that now circles the globe, serving “finger lickin’ good” chicken to more than twelve million people every day. But to get there, he had to give up control of his company and even his own image, becoming a mere symbol to people today who don’t know that Colonel Sanders was a very real human being. This book tells his story—the story of a dirt-poor striver with unlimited ambition who personified the American Dream.Acclaimed cultural historian Josh Ozersky defines the American Dream as being able to transcend your roots and create yourself as you see fit. Harland Sanders did exactly that. Forced at age ten to go to work to help support his widowed mother and sisters, he failed at job after job until he went into business for himself as a gas station/café/motel owner and finally achieved a comfortable, middle-class life. But then the interstate bypassed his business and, at sixty-five, Sanders went broke again. Packing his car with a pressure cooker and his secret blend of eleven herbs and spices, he began peddling the recipe for “Colonel Sanders’ Kentucky Fried Chicken” to small-town diners in exchange for a nickel for each chicken they sold. Ozersky traces the rise of Kentucky Fried Chicken from this unlikely beginning, telling the dramatic story of Sanders’ self-transformation into “The Colonel,” his truculent relationship with KFC management as their often-disregarded goodwill ambassador, and his equally turbulent afterlife as the world’s most recognizable commercial icon.

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Ideal for classroom use, this anthology of original essays by the leading authorities on women’s comedy surveys the disorderly, subversive, and unruly performances of women comics from silent film to contemporary multimedia Winner, Susan Koppleman Award for Best Anthology, Multi-Authored, or Edited Book in Feminist Studies, Popular and American Culture Associations (PACA), 2017Amy Schumer, Samantha Bee, Mindy Kaling, Melissa McCarthy, Tig Notaro, Leslie Jones, and a host of hilarious peers are killing it nightly on American stages and screens large and small, smashing the tired stereotype that women aren’t funny. But today’s funny women aren’t a new phenomenon—they have generations of hysterically funny foremothers. Fay Tincher’s daredevil stunts, Mae West’s linebacker walk, Lucille Ball’s manic slapstick, Carol Burnett’s athletic pratfalls, Ellen DeGeneres’s tomboy pranks, Whoopi Goldberg’s sly twinkle, and Tina Fey’s acerbic wit all paved the way for contemporary unruly women, whose comedy upends the norms and ideals of women’s bodies and behaviors.Hysterical! Women in American Comedy delivers a lively survey of women comics from the stars of the silent cinema up through the multimedia presences of Tina Fey and Lena Dunham. This anthology of original essays includes contributions by the field’s leading authorities, introducing a new framework for women’s comedy that analyzes the implications of hysterical laughter and hysterically funny performances. Expanding on previous studies of comedians such as Mae West, Moms Mabley, and Margaret Cho, and offering the first scholarly work on comedy pioneers Mabel Normand, Fay Tincher, and Carol Burnett, the contributors explore such topics as racial/ethnic/sexual identity, celebrity, stardom, censorship, auteurism, cuteness, and postfeminism across multiple media. Situated within the main currents of gender and queer studies, as well as American studies and feminist media scholarship, Hysterical! masterfully demonstrates that hysteria—women acting out and acting up—is a provocative, empowering model for women’s comedy.

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Superhero films and comic book adaptations dominate contemporary Hollywood filmmaking, and it is not just the storylines of these blockbuster spectacles that have been influenced by comics. The comic book medium itself has profoundly influenced how movies look and sound today, as well as how viewers approach them as texts. Comic Book Film Style explores how the unique conventions and formal structure of comic books have had a profound impact on film aesthetics, so that the different representational abilities of comics and film are put on simultaneous display in a cinematic work.With close readings of films including Batman: The Movie, American Splendor, Superman, Hulk, Spider-Man 2, V for Vendetta, 300, Scott Pilgrim vs. the World, Watchmen, The Losers, and Creepshow, Dru Jeffries offers a new and more cogent definition of the comic book film as a stylistic approach rather than a genre, repositioning the study of comic book films from adaptation and genre studies to formal/stylistic analysis. He discusses how comic book films appropriate comics’ drawn imagery, vandalize the fourth wall with the use of graphic text, dissect the film frame into discrete panels, and treat time as a flexible construct rather than a fixed flow, among other things. This cinematic remediation of comic books’ formal structure and unique visual conventions, Jeffries asserts, fundamentally challenges the classical continuity paradigm and its contemporary variants, placing the comic book film at the forefront of stylistic experimentation in post-classical Hollywood.

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In the decades following World War II, the creation and expansion of massive domestic markets and relatively stable economies allowed for mass consumption on an unprecedented scale, giving rise to the consumer society that exists today. Many avant-garde artists explored the nexus between consumption and aesthetics, questioning how consumerism affects how we perceive the world, place ourselves in it, and make sense of it via perception and emotion.Delirious Consumption focuses on the two largest cultural economies in Latin America, Mexico and Brazil, and analyzes how their artists and writers both embraced and resisted the spirit of development and progress that defines the consumer moment in late capitalism. Sergio Delgado Moya looks specifically at the work of David Alfaro Siqueiros, the Brazilian concrete poets, Octavio Paz, and Lygia Clark to determine how each of them arrived at forms of aesthetic production balanced between high modernism and consumer culture. He finds in their works a provocative positioning vis-à-vis urban commodity capitalism, an ambivalent position that takes an assured but flexible stance against commodification, alienation, and the politics of domination and inequality that defines market economies. In Delgado Moya’s view, these poets and artists appeal to uselessness, nonutility, and noncommunication—all markers of the aesthetic—while drawing on the terms proper to a world of consumption and consumer culture.

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