Search results for ""Author Art, Culture"

Masterminded by women, the Red Army Faction (RAF) terrorized West Germany from the 1970s to the 1990s. Afterimages of its leaders persist in the works of pivotal artists and writers, including Gerhard Richter, Elfriede Jelinek, and Slavoj Zizek. Why were women so prominent in the RAF? What does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? Engaging critical theory, Charity Scribner addresses these questions and analyzes signal works that point beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. After the Red Army Faction maps out a cultural history of militancy and introduces "postmilitancy" as a new critical term. As Scribner demonstrates, the most compelling examples of postmilitant culture don't just repudiate militancy: these works investigate its horizons of possibility, particularly on the front of sexual politics. Objects of analysis include as-yet untranslated essays by Theodor Adorno and Jurgen Habermas, as well as novels by Friedrich Durrenmatt and Judith Kuckart, Johann Kresnik's Tanztheaterstuck Ulrike Meinhof, and the blockbuster exhibition Regarding Terror at the Berlin Kunst-Werke. Scribner focuses on German cinema, offering incisive interpretations of films by Margarethe von Trotta, Volker Schlondorff, and Fatih Akin, as well as the international box-office success The Baader-Meinhof Complex. These readings disclose dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body, and the relationship between mass media and the arts.

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The Culture of Western Europe, George L. Mosse’s sweeping cultural history, was originally published in 1961 and revised and expanded in 1974 and 1988. Originating from the lectures at the University of Wisconsin–Madison for which Mosse would become famous, the book addresses, in crisp and accessible language, the key issues he saw as animating the movement of culture in Europe. Mosse emphasizes the role of both rational and irrational forces in making modern Europe, beginning with the interplay between eighteenth-century rationalism and nineteenth-century Romanticism. He traces cultural and political movements in all areas of society, especially nationalism but also economics, class identity and conflict, religion and morality, family structure, medicine, and art. This new edition restores the original 1961 illustrations and features a critical introduction by Anthony J. Steinhoff, professor in the department of history at the UniversitÉ du QuÉbec À MontrÉal, contextualizing Mosse’s project and arguing for its continued relevance today.

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Envisioned as a tribe of ruddy-faced, redheaded, red-bearded Jewish warriors, bedecked in red attire who purportedly resided in isolation at the fringes of the known world, the Red Jews are a legendary people who populated a shared Jewish-Christian imagination. But in fact the red variant of the Ten Lost Tribes of Israel is a singular invention of late medieval vernacular culture in Germany. This idiosyncratic figure, together with the peculiar term “Red Jews,” existed solely in German and Yiddish, the German-Jewish vernacular. These two language communities assessed the Red Jews differently and contested their significance, which is to say, they viewed them in different shades of red. The voyage of the Red Jews through the Jewish and Christian imagination, from their medieval Christian nascence, through early modern Old Yiddish literature, to modern Yiddish culture in Eastern Europe, Palestine, and America, is the story of this book. By studying this vernacular icon, Rebekka Voß contributes to our understanding of the formation of minority awareness and the construction of Ashkenazic Jewish identity through visual cultural encounters. She also spotlights the vitality of vernacular culture by demonstrating how the premodern motif of the Red Jews informed modern Yiddish literature, and how the stereotype of Jewish red hair found its way into Jewish social critiques, political thought, and arts through the present day. Sons of Saviors is a story about power: the Yiddish reappropriation of the Red Jews subverted the Christian color symbolism by adjusting the focus on redness from a negative stereotype into a proud badge of self-assertion. The book also includes in an appendix the full text of a significant Yiddish tale featuring the Red Jews.

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In this important new book Rein Raud develops an original theory of culture understood as a loose and internally contradictory system of texts and practices that are shared by intermittent groups of people and used by them to make sense of their life-worlds. This theory views culture simultaneously in two ways: as a world of texts, tangible and shareable products of signifying acts, and as a space of practices, repeatable activities that produce, disseminate and interpret these clusters of meaning. Both approaches are developed into corresponding models of culture which, used together, are able to provide a rich understanding of any meaning in action. In developing this innovative theory, Raud draws on a wide range of disciplines, from anthropology, sociology and cultural studies to semiotics and philosophy. The theory is illustrated throughout with examples drawn from both �high� and popular culture, and from Western and Asian traditions, dealing with both contemporary and historical topics. The book concludes with two case studies from very different contexts – one dealing with Italian poetry in the 13th century, the other dealing with the art scene in Eastern Europe in the 1990s. This timely and original work makes a major new contribution to the theory of culture and will be welcomed by students and scholars throughout the social sciences and humanities.

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-- By an acclaimed author in his field-- Challenges the ideas of our modern scientific culture-- Far-reaching consequences for how we understand and relate to the natural worldOur scientific culture, which gave birth to modern technology, is in desperate need of change. Science has largely meant groups of specialists working in separate disciplines, seeking answers to narrowly defined questions which have little or nothing to do with the living world. The last few years, however, have seen a shift to a more integrated, holistic approach to how we view and understand our world.There is still much work to be done. Most modern people have come to accept a fragmented culture whereby science isolates us from the natural world. As a result, we feel we can govern it and dominate it as we please. Brian Goodwin, acclaimed author of How the Leopard Changed Its Spots, argues for a view of nature as complex, interrelated networks of relationships. He proposes that, in order for us to once again work with nature to achieve true sustainability on our planet, we need to adopt a new science, new art, new design, new economics and new patterns of responsibility. We must be willing to pay nature its due: to recognise what we owe to the natural world and resist exploiting it solely for our own ends.This is an ambitious, wide-ranging book with far-reaching consequences, and will be essential reading for all those interested in how nature and human culture can co-exist in the future.

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Providing a comprehensive history of Italy from around 1800 to the present, Italy in the Modern World traces the social and cultural transformations that defined the lives of Italians during the 19th and 20th century. The book focuses on how social relations (class, gender and race), science and the arts shaped the political processes of unification, state building, fascism and the postwar world. Split up into four parts covering the making of Italy, the liberal state, war and fascism, and the republic, the text draws on secondary literature and primary sources in order to synthesize current historiographical debates and provide primary documents for classroom use. There are individual chapters on key topics, such as unification, Italians in the world, Italy in the world, science and the arts, fascism, the World Wars, the Cold War, and Italy in the 21st century, as well as a wealth of useful features for students, including: * Comprehensive bibliographic essays covering each of the four parts * 23 images and 12 maps Italy in the Modern World also firmly places both the nation and its people in a wider global context through a distinctly transnational approach. It is essential reading for all students of modern Italian history.

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This volume is the outcome of the first conference to take place on the topic of Greek baths and bathing culture, a central but hitherto neglected area in the field of ancient studies. Fifteen papers by an international group of archaeologists, art historians and ancient historians discuss Greek bathing culture from a socio-historical and cultural-anthropological perspective, resulting in a comprehensive reassessment that elucidates the sophistication of both the architecture and the culture of bathing throughout the Greek world. Individual papers examine bathing in the context of science, medicine and the cultural discourses coded in images on vases, while the majority focus on the archaeological evidence itself, as the crucial component in this reassessment that removes Greek baths from the traditional category of 'primitive predecessors' to Roman baths. From Greece and Egypt in the east, to Sicily, southern Italy and France in the west, new information from recent excavations is brought to bear on a wide range of related issues, including urban contexts, regional variations in experimental design and construction, innovations in technology, and the social meaning of the rise of bathing culture in the Hellenistic period. This better understanding of Greek baths adds a crucial element to the much debated question of the relationship between Greek and Roman bathing culture. This book also provides the first comprehensive catalog of all known Greek public baths (balaneia), including descriptions, plans and bibliographies, as a major reference tool for future comparative research on ancient bathing culture and beyond. catalog and papers combined make this a rich study of a topic of newly recognized significance in the ancient world.

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"Hickman['s] . . . style of pragmatism provides us with flexible, philosophical 'tools' which can be used to analyze and penetrate various technology and technological cultural problems of the present. He, himself, uses this toolkit to make his analyses and succeeds very well indeed." —Don IhdeA practical and comprehensive appraisal of the value of philosophy in today's technological culture.Philosophical Tools for Technological Culture contends that technology—a defining mark of contemporary culture—should be a legitimate concern of philosophers. Larry A. Hickman contests the perception that philosophy is little more than a narrow academic discipline and that philosophical discourse is merely redescription of the ancient past. Drawing inspiration from John Dewey, one of America's greatest public philosophers, Hickman validates the role of philosophers as cultural critics and reformers in the broadest sense. Hickman situates Dewey's critique of technological culture within the debates of 20th-century Western philosophy by engaging the work of Richard Rorty, Albert Borgmann, Jacques Ellul, Walter Benjamin, Jürgen Habermas, and Martin Heidegger, among others. Pushing beyond their philosophical concerns, Hickman designs and assembles a set of philosophical tools to cope with technological culture in a new century. His pragmatic treatment of current themes—such as technology and its relationship to the arts, technosciences and technocrats, the role of the media in education, and the meaning of democracy and community life in an age dominated by technology—reveals that philosophy possesses powerful tools for cultural renewal. This original, timely, and accessible work will be of interest to readers seeking a deeper understanding of the meanings and consequences of technology in today's world.

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As Americans flocked to the movies during the first part of the twentieth century, the guardians of culture grew worried about their diminishing influence on American art, education, and American identity itself. Meanwhile, Hollywood studio heads were eager to stabilize their industry, solidify their place in mainstream society, and expand their new but tenuous hold on American popular culture. Peter Decherney explores how these needs coalesced and led to the development of a symbiotic relationship between the film industry and America's stewards of high culture. Formed during Hollywood's Golden Age (1915-1960), this unlikely partnership ultimately insured prominent places in American culture for both the movie industry and elite cultural institutions. It redefined Hollywood as an ideal American industry; it made movies an art form instead of simply entertainment for the masses; and it made moviegoing a vital civic institution. For their part, museums and universities used films to maintain their position as quintessential American institutions. As the book delves into the ties between Hollywood bigwigs and various cultural leaders, an intriguing cast of characters emerges, including the poet Vachel Lindsay, film producers Adolph Zukor and Joseph Kennedy, Hollywood flak and censor extraordinaire Will Hays, and philanthropist turned politician Nelson Rockefeller. Decherney considers how Columbia University's film studies program helped integrate Jewish students into American culture while also professionalizing screenwriting. He examines MoMA's career-savvy film curator Iris Barry, a British feminist once dedicated to stemming the tide of U.S. cultural imperialism, who ultimately worked with Hollywood and the U.S. government to fight fascism and communism and promote American values abroad. Other chapters explore Vachel Lindsay's progressive vision of movies as reinvigorating the public sphere through film libraries and museums; the promotion of movie connoisseurship at Harvard and other universities; and how the heir of a railroad magnate bankrolled the American avant-garde film movement. Amid ethnic diversity, the rise of mass entertainment, world war, and the global spread of American culture, Hollywood and cultural institutions worked together to insure their own survival and profitability and to provide a coherent, though shifting, American identity.

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Explore the exotic world of Balinese cooking—a cuisine dedicated to the gods and fueled by an aromatic array of fresh tropical island spices and ingredients!In Balinese Food: The Traditional Cuisine & Food Culture of Bali, Dr. Vivienne Kruger brings to life Bali's time-honored and authentic village cooking traditions. In over 20 detailed chapters, Dr. Kruger explores how the island's intricate culinary art is an inextricable part of Bali's Hindu religion, its culture and its community life. This book provides a detailed roadmap for those who wish to make an exciting exploration into the exotic world of Balinese cooking, with chapters on: The traditional Balinese kitchen Snacking at a roadside warung food stall Visiting a traditional Balinese market Preparing delicious satays with a Balinese twist Brewing heavenly kopi Bali coffee Containing interviews with Balinese master cooks and over 40 of their favorite recipes, Balinese Food presents the full range of food experiences you will find in Bali. Sections devoted to ingredients, equipment, and resources make Balinese Food a delightful social and cultural guide to the food of this fascinating island."Balinese Food is an important contribution to the rapidly expanding scholarly study of foodways in various parts of the world—an important new subset of social and cultural history." —Alden T. Vaughan, Professor emeritus of History, Columbia University

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World Medievalism: The Middle Ages in Modern Textual Culture explores the ways in which a range of modern textual cultures have continued to engage creatively with the medieval past in order to come to terms with the global present. Building its argument through four case studies--from the Middle East, France, Southeast Asia, and Indigenous Australia--it shows that to understand medievalism as a cultural idiom with global reach, we need to develop a more nuanced grasp of the different ways 'the Middle Ages' have come to signify beyond Europe as well as within a Europe that has been transformed by multiculturalism and the global economy. The book's case studies are explored within a conceptual framework in which medievalism itself is formulated as 'world-disclosing' a transhistorical encounter that enables the modern subject to apprehend the past 'world' opened up in medieval and medievalist texts and objects. The book analyses the cultural and material conditions under which its texts are produced, disseminated, and received, and examines literature alongside films, television programs, newspapers and journals, political tracts, as well as such material and artefactual texts as photographs, paintings, statues, buildings, rock art, and fossils. While the case studies feature distinctive localised forms of medievalism, taken together they reveal how imperial and global legacies have ensured that the medieval period continues to be perceived as a commonly held past that can be retrieved, reclaimed, or revived in response to the accelerated changes and uncertainties of global modernity.

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Humans possess an extraordinary capacity for culture, from the arts and language to science and technology. But how did the human mind—and the uniquely human ability to devise and transmit culture—evolve from its roots in animal behavior? Darwin’s Unfinished Symphony presents a captivating new theory of human cognitive evolution. This compelling and accessible book reveals how culture is not just the magnificent end product of an evolutionary process that produced a species unlike all others—it is also the key driving force behind that process. Kevin N. Lala tells the story of the painstaking fieldwork, the key experiments, the false leads, and the stunning scientific breakthroughs that led to this new understanding of how culture transformed human evolution. It is the story of how Darwin’s intellectual descendants picked up where he left off and took up the challenge of providing a scientific account of the evolution of the human mind.

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‘Tea began as a medicine and grew into a beverage,’ are the opening words of Okakura Kakuzō’s The Book of Tea, written in English in 1906 for a Western audience. The book is a long essay celebrating the secular art of the Japanese tea ceremony and linking its importance with Zen Buddhism and Taoism. It is both about cultural life, aesthetics and philosophy, emphasising how Teaism – a term Kakuzō coined – taught the Japanese many things; most importantly, simplicity, which can be seen in Japanese art and architecture. Looking back at the evolution of the Japanese tea ceremony, Kakuzō argues that Teaism, in itself, is one of the profound universal remedies that two parties could sit down to. Where the West had scoffed at Eastern religion and morals, it held Eastern tea ceremonies in high regard. With a new introduction, this is an exquisitely produced edition of a classic text made using traditional Chinese bookbinding techniques. Surely it’s time for tea.

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When Wharton Esherick built his famous studio in 1926, it was situated near two tulip poplar trees. These trees became "witness trees," witnessing the history Esherick made there. In the late 1970s, one of these trees was struck by lighting. In 2010, this mighty witness came down. As Esherick himself had made great use of poplar boards, the Museum invited over 40 select artists to create artwork from the fallen poplar. Since Esherick was influenced by hobbyists and professional artists, the Wharton Esherick Museum invited established, emerging, and student artists alike. Captured here in 120 brilliant color photos are the resulting works of art. Among them are furniture, furnishings, woodcut prints, a poplar splint basket, ceramics finished with a poplar wood-ash glaze, and, true to Wharton Esherick, a wide range of functional sculpture.

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This collection of essays reveals the Ming court as an arena of competition and negotiation, where a large cast of actors pursued individual and corporate ends, personal agency shaped protocol and style, and diverse people, goods, and tastes converged. Rather than observing an immutable set of traditions, court culture underwent frequent reinterpretation and rearticulation, processes driven by immediate personal imperatives, mediated through social, political, and cultural interaction.The essays address several common themes. First, they rethink previous notions of imperial isolation, instead stressing the court’s myriad ties both to local Beijing society and to the empire as a whole. Second, the court was far from monolithic or static. Palace women, monks, craftsmen, educators, moralists, warriors, eunuchs, foreign envoys, and others strove to advance their interests and forge advantageous relations with the emperor and one another. Finally, these case studies illustrate the importance of individual agency. The founder’s legacy may have formed the warp of court practices and tastes, but the weft varied considerably. Reflecting the complexity of the court, the essays represent a variety of perspectives and disciplines—from intellectual, cultural, military, and political to art history and musicology.

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With a Foreword by Vijay Prashad and an Afterword by Gary Okihiro How might we understand yellowface performances by African Americans in 1930s swing adaptations of Gilbert and Sullivan's The Mikado, Paul Robeson's support of Asian and Asian American struggles, or the absorption of hip hop by Asian American youth culture? AfroAsian Encounters is the first anthology to look at the mutual influence of and relationships between members of the African and Asian diasporas. While these two groups have often been thought of as occupying incommensurate, if not opposing, cultural and political positions, scholars from history, literature, media, and the visual arts here trace their interconnections and interactions, as well as the tensions between the two groups that sometimes arise. AfroAsian Encounters probes beyond popular culture to trace the historical lineage of these coalitions from the late nineteenth century to the present. A foreword by Vijay Prashad sets the volume in the context of the Bandung conference half a century ago, and an afterword by Gary Okihiro charts the contours of a “Black Pacific.” From the history of Japanese jazz composers to the current popularity of black/Asian “buddy films” like Rush Hour, AfroAsian Encounters is a groundbreaking intervention into studies of race and ethnicity and a crucial look at the shifting meaning of race in the twenty-first century.

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With a Foreword by Vijay Prashad and an Afterword by Gary Okihiro How might we understand yellowface performances by African Americans in 1930s swing adaptations of Gilbert and Sullivan's The Mikado, Paul Robeson's support of Asian and Asian American struggles, or the absorption of hip hop by Asian American youth culture? AfroAsian Encounters is the first anthology to look at the mutual influence of and relationships between members of the African and Asian diasporas. While these two groups have often been thought of as occupying incommensurate, if not opposing, cultural and political positions, scholars from history, literature, media, and the visual arts here trace their interconnections and interactions, as well as the tensions between the two groups that sometimes arise. AfroAsian Encounters probes beyond popular culture to trace the historical lineage of these coalitions from the late nineteenth century to the present. A foreword by Vijay Prashad sets the volume in the context of the Bandung conference half a century ago, and an afterword by Gary Okihiro charts the contours of a “Black Pacific.” From the history of Japanese jazz composers to the current popularity of black/Asian “buddy films” like Rush Hour, AfroAsian Encounters is a groundbreaking intervention into studies of race and ethnicity and a crucial look at the shifting meaning of race in the twenty-first century.

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In this major work on landscape photography, extensively illustrated in colour and black & white, Liz Wells is concerned with the ways in which photographers engage with issues about land, its representation and idealisation. She demonstrates how the visual interpretation of land as landscape reflects and reinforces contemporary political, social and environmental attitudes. She also asks what is at stake in landscape photography now through placing critical appraisal of key examples of work by photographers working in, for example, the USA, in Europe, Scandinavia and Baltic areas, within broader art historical and political concerns. This illuminating book will interest readers in photography and media, geography, art history and travel, as well as those concerned with environmental issues.

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Peter Fine's innovative study traces the development of a mass visual culture in the United States, focusing on how new visual technologies played a part in embedding racialized ideas about African Americans, and how whiteness was privileged within modernist ideals of visual form. Fine considers the visual and material manifestations of this process through the history of three important technologies of the art of mechanical reproduction – typography, lithography, and photography, and then moves on to consider how racialized representation has been configured and contested within contemporary film and television, fine art and digital design.

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the book conducts in-depth inquiries into the practices, nature and theory of postindustrial cultural work and the humanities – and arts – based civic dialogues which cultural work promotes. Given the broad neglect of utopian thinking in the mainstream of critical social science, and in an attempt to sketch out a vision of an alternative future, the aim of the book is to outline an epistemology for cultural work as well as to reflect upon the prospects for educational cultural work practices and their function as a catalyst for civic dialogue and cultural change. A major focus of the book is on the epistemological, ecological, ethical and political dimensions of cultural work. This includes the prospects for a new form of communal workspace for knowledge and cultural learning. Cultural work and knowledge are the central topics of this book and intersect with many of the concerns on how to involve the general public in scientific, technological and economic developments to address urgent changes often deemed to be of a highly scientific nature – including climate change, sustainability, environment and development.

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Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series

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Scholars have conducted the study of culture in two general ways: as an observer science, where behavior and world-views are measurable, rational, and subject to impartial examination; and as an interpretive art, where a scholar actually participates in the understanding of cultures. In view of increasingly manifest problems with both stances, Joseph D. Lewandowski proposes an alternative, one that capitalizes on the strengths of both schools of interpretation and in fact underpins the work of major social theorists of the modern era, including Adorno, Foucault, and Bourdieu. Gathering insights from a wide array of anthropologists, archaeologists, and philosophers and applying them to case studies in the United States, Lewandowski develops a practical model of culture and method of interpretation that are built around the concept of "constructing constellations." According to this concept—drawn from the work of Simmel, Kracauer, Benjamin, and Adorno—cultures are made up of social fields, embedded social practices that are continually created and patterned in certain ways, akin to constellations. The constellations of embedded actions and beliefs in different settings, such as ghetto life in New York or the world of boxing in Chicago, are, Lewandowski argues, observable, measurable, and ultimately comparable.

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The Material Culture of Tableware is a fascinating and authoritative study of patterned tableware in the USA. This book undertakes a visual analysis of Johnson Brothers patterns of tableware pottery, with reference to comparable designs by other British companies, such as Spode and Adams. It examines how this practical genre reflected the aesthetic values, sense of identity and aspirations of the American consumers who purchased its products. The study also sheds light on British opinions and understandings of American culture. The book’s chronological organization shows how tableware designs reflected the cultural developments of American society during the long 20th century. From status-seeking 1890s beaux-arts patterns and the nostalgic historical scenes of the 1930s, to whimsical 1960s patterns and the contemporary motifs of the 1970s, The Material Culture of Tableware tells a compelling story about who 20th-century middle-class Americans were and wanted to be.

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In stark contrast to the widespread preoccupation with the wartime looting of priceless works of art, Bożena Shallcross focuses on the meaning of ordinary objects—pots, eyeglasses, shoes, clothing, kitchen utensils—tangible vestiges of a once-lived reality, which she reads here as cultural texts. Shallcross delineates the ways in which Holocaust objects are represented in Polish and Polish-Jewish texts written during or shortly after World War II. These representational strategies are distilled from the writings of Zuzanna Ginczanka, Władysław Szlengel, Zofia Nałkowska, Czesław Miłosz, Jerzy Andrzejewski, and Tadeusz Borowski. Combining close readings of selected texts with critical interrogations of a wide range of philosophical and theoretical approaches to the nature of matter, Shallcross's study broadens the current discourse on the Holocaust by embracing humble and overlooked material objects as they were perceived by writers of that time.

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How does social media activism in Nigeria intersect with online popular forms—from GIFs to memes to videos—and become shaped by the repressive postcolonial state that propels resistance to dominant articulations of power? James Yékú proposes the concept of "cultural netizenship"—internet citizenship and its aesthetico-cultural dimensions—as a way of being on the social web and articulating counter-hegemonic self-presentations through viral popular images. Yékú explores the cultural politics of protest selfies, Nollywood-derived memes and GIFs, hashtags, and political cartoons as visual texts for postcolonial studies, and he examines how digital subjects in Nigeria, a nation with one of the most vibrant digital spheres in Africa, deconstruct state power through performed popular culture on social media. As a rubric for the new digital genres of popular and visual expressions on social media, cultural netizenship indexes the digital everyday through the affordances of the participatory web.A fascinating look at the intersection of social media and popular culture performance, Cultural Netizenship reveals the logic of remediation that is central to both the internet's remix culture and the generative materialism of African popular arts.

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CULTURE AND VALUES: A SURVEY OF THE HUMANITIES, NINTH EDITION, takes you on a tour of some of the world's most interesting and significant examples of art, music, philosophy, and literature, from the beginnings of civilization to today. Chapter previews, timelines, glossaries of key terms, Compare + Contrast, new Connections and Culture & Society features, and "Big Picture" reviews all help make it easy for you to learn the material and study more effectively. Links to full readings and playlists of the music selections discussed in your text are available online in MindTap, where you will also find study resources and such tools as image flashcards, guides to research and writing, practice quizzes and exercises, and more.

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“Pop culture is often maligned as fleeting, but history shows that sometimes what is pop in one culture has time-honored resonance in later ones. This book is an attempt to show that pop culture, especially as seen through the lenses of design, illustration, satiric and political art (and other things), is integral to a broader understanding of who we are and where we are going.”—Steven Heller, from the Introduction. How do popular culture and graphic design influence one another? What are the goals of design? Are they to sell? To package? To entertain? The answers to these questions are complicated and are intimately tied to the effect design has on the overall culture. POP is the first book to analyze the role of graphic design in the broader culture, as well as the impact of design on other art and entertainment forms, from album covers to baseball stadiums. Author Steven Heller addresses such subjects as: --pop icons --viral and guerilla advertising --political satire --the history of Interview, Monocle, Mad, and other magazines --illusionism and three-dimensional design --art for art’s sake --design vs. decoration --the return of hand lettering --art for the masses. POP spans over 150 years during which popular culture has influenced mass perception and behavior. Illustrated by more than fifty images, POP is sure to inspire both aspiring and experienced designers.Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

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New communication and information technologies provide distinct challenges and possibilities for the Chinese script, which, unlike alphabetic or other phonetic scripts, relies on multiple signifying principles. In recent decades, this multiplicity has generated a rich corpus of reflection and experimentation in literature, film, visual and performance art, and design and architecture, within both China and different parts of the West. Approaching this history from a variety of alternative theoretical perspectives, Beyond Sinology reflects on the Chinese script to pinpoint the multiple connections between languages, scripts, and medial expressions and cultural and national identities. Through a complex study of intercultural representations, exchanges, and tensions, the text focuses on the concrete "scripting" of identity and alterity, advancing a new understanding of the links between identity and medium and a critique of articulations that rely on single, monolithic, and univocal definitions of writing. Chinese writing-with its history of divergent readings in Chinese and non-Chinese contexts, with its current reinvention in the age of new media and globalization-can teach us how to read and construct mediality and cultural identity in interculturally responsible ways and also how to scrutinize, critique, and yet appreciate and enjoy the powerful multi-medial creativity embodied in writing.

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In Radical Health Julie Avril Minich examines the potential of Latinx expressive culture to intervene in contemporary health politics, elaborating how Latinx artists have critiqued ideologies of health that frame wellbeing in terms of personal behavior. Within this framework, poor health—obesity, asthma, diabetes, STIs, addiction, and high-risk pregnancies—is attributed to irresponsible lifestyle choices among the racialized poor. Countering this, Latinx writers and visual artists envision health not as individual duty but as communal responsibility. Bringing a disability justice approach to questions of health access and equity, Minich locates a concept of radical health within the work of Latinx artists, including the poetry of Rafael Campo, the music of Hurray for the Riff Raff, the fiction of Angie Cruz, and the performance art of Virginia Grise. Radical health operates as a modality that both challenges the stigma of unhealth and protests the social conditions that give rise to racial health disparities. Elaborating on this modality, Minich claims a critical role for Latinx artists in addressing the structural racism in public health.

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Subverting stereotypical images of women, a new generation of feminist artists is remaking the pin-up, much as Annie Sprinkle, Cindy Sherman, and others did in the 1970s and 1980s. As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago. Pin-Up Grrrls tells the history of the pin-up from its birth, revealing how its development is intimately connected to the history of feminism. Maria Elena Buszek documents the genre’s 150-year history with more than 100 illustrations, many never before published.Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.

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In her insightful study, Fashioning Diaspora, Vanita Reddy carefully maps how transnational itineraries of Indian beauty and fashion shaped South Asian American cultural identities and racialized belonging from the 1990s through the first decade of the twenty-first century. She observes how diasporic subjects engage with and respond to various encounters with Indian beauty and fashion. One of the first books to consider beauty and fashion as a point of entry into an examination of South Asian diasporic public cultures, Fashioning Diaspora examines a range of literature, visual art, and live performance. Through careful analyses of novels by Bharati Mukherjee and Jhumpa Lahiri, young adult literature, performance art by Shailja Patel, beauty and adornment practices, as well as objects of popular culture including an Indian American fashion doll, Reddy challenges fashion and beauty as a set of dematerialized, overly commodified cultural practices. She argues instead that beauty and fashion structure South Asian Americans' uneven access to social mobility, capital, and citizenship, and she demonstrates their varying capacities to produce social attachments across national, class, racial, gender, and generational divides.

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Since time immemorial the exchange of cultures has had an impact on art, crafts and design. When people travel and migrate their objects travel with them and subsequently adapt to new settings and contexts. The catalog showcases jewelry, fashion, textiles, ceramic as well as graphic and industrial design by contemporary young designers and artists. The latter often hail from other countries and have backgrounds that may even be trans-cultural. The catalog presents global networks and interpretations of techniques and objects as well as their developments and messages that have altered thanks to mobility. The focus placed on the present and the future shows that in an age of cultural pluralism and heterogeneity art and design are not feasible without transcultural encounters.

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This book investigates the complexity, diversity, uniqueness and enduring significance of Jewish life in the Christian Roman Empire, from 312 to 634 C.E. During this period there occurred an unprecedented Jewish cultural explosion, encompassing the compilation and/or composition of such texts as the Palestinian Talmud, the main aggadic midrashim, an extensive magical/mystical literature, the revived apocalypse, a vast corpus of piyyutim and the beginnings of a practically oriented halakhic literature. Furthermore, this was the era of the florition of Jewish art, for it was only in the fourth century that a specifically Jewish iconographic language came into common use in the synagogues and catacombs, the archeological remains of almost all of which date from this period. This volume moves toward a synthesizing and contextualizing view of the Jewish cultural production of late antiquity, examining the interaction of Jews, Christians and pagans and with the emergence of new religious forms generated by such interaction.

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Think like an artist and design a classroom that works—well—for everyone In Brilliant Teaching, you will come to understand that equity—when we view it from an informed, multi-layered, and artistic perspective—is the essential purpose of teaching. As education thought leader Dr. Adeyemi Stembridge argues, true equity does not need to defend or justify itself against detractors. Teaching for equity means creating student-centered opportunities that match the social, political, and economic context of the learning environment. Informed by both theory and extensive collaboration with K-12 teachers, Brilliant Teaching will help you develop a deep understanding of culture, one that you can leverage in order to be responsive to students. This book draws from a range of disciplines, including but going well beyond the post-modern and critical-theory-based discourse that dominate conversations today. Brilliant Teaching also pulls from art theory, cultural psychology, cognitive science, and learning theory, as well as classic historical texts within education. With this broad foundation, Dr. Stembridge offers an empowering, engaging approach that educators can use to help learners reach their own goals, and to move society onward and upward. Discover practices that you can use to provide vulnerable students with high quality, effective, and meaningful learning opportunities Learn to empathize with and respond to your students in a way that will engage and empower them in rigorous learning experiences Embrace artful thinking and an integrated understanding of culture in your approach to equity in the classroom View the K-12 classroom with a more expansive mindset and fresh ideas from an expert educator For K-12 educators, preservice teachers, parents, school board members, and policymakers, this book is a breath of fresh air and inspiration in a world where culturally responsive teaching is increasingly recognized as a must.

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The question "Where do we come from?" has fascinated philosophers, scientists, and artists for generations. This book reorients the question of the matrix as a place where everything comes from (chora, womb, incubator) by recasting it in terms of acts of "matrixial/maternal hospitality" producing space and matter of and for the other. Irina Aristarkhova theorizes such hospitality with the potential to go beyond tolerance in understanding self/other relations. Building on and critically evaluating a wide range of historical and contemporary scholarship, she applies this theoretical framework to the science, technology, and art of ectogenesis (artificial womb, neonatal incubators, and other types of generation outside of the maternal body) and proves the question "Can the machine nurse?" is critical when approaching and understanding the functional capacities and failures of incubating technologies, such as artificial placenta. Aristarkhova concludes with the science and art of male pregnancy, positioning the condition as a question of the hospitable man and newly defined fatherhood and its challenge to the conception of masculinity as unable to welcome the other.

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How do cities use culture today? Building on the experience of New York as a "culture capital" Sharon Zukin shows how three notions of culture - as ethnicity, aesthetic, and marketing tool - are reshaping urban places and conflicts over revitalization. She rejects the idea that cities have either a singular urban culture or many different subcultures to argue that cultures are constantly negotiated in the city's central spaces - the streets, parks, shops, museums, and restaurants - which are the great public spaces of modernity. While cultural gentrification may contribute to making our cities both safer and more civilised places to live, it has its darker side. Beneath the perceptions of "civility" and "security" nurtured by cultural strategies, Zukin shows an aggressive private-sector bid for control of public space, a relentless drive for expansion by art museums and other non-profit cultural institutions, and an increasing redesign of the built environment for the purposes of social control. Tying these developments to a new "symbolic economy" based on tourism, media and entertainment, Zukin traces the connections between real estate development and popular expression, and between elite visions of the arts and more democratic representations. Going beyond the immigrants, artists, street peddlers, and security guards who are the key figures in the symbolic economy, Zukin asks: Who really occupies the central spaces of cities? And whose culture is imposed as public culture? Combining cultural critique, interviews, autobiography and ethnography, The Culture of Cities is a compelling account of the public spaces of modernity as they are transformed into new, more troubling landscapes.

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No Joke is a detailed examination of Todd Phillips’s Joker, one of the biggest global box-office hits of 2019. While his success was no doubt partly because of the association of its title character with the Batman superhero franchise, Joker is anything but a flashy superhero romp. It does explore the pathologies of its central character and suggest ways in which his life experiences might have driven him to become a supervillain, the arch-enemy of Batman. At the same time, the film leaves open the possibility that its “Joker” is not, in fact, the same as the one conventionally associated with Batman. In fact, the film leaves open many interpretive possibilities, in keeping with the complex work of postmodern art that it turns out to be. Joker also engages in extensive dialogues with a range of works from modern American culture, especially the films of the 1970s and 1980s, the period in which the action of Joker is set. Moreover, Joker is a highly political film that comments in important ways on American political history from roughly the beginning of the presidency of Richard Nixon through the end of the Trump presidency, with a special focus on the Reagan years. It also comments in more general and fundamental ways on the very nature of American society and American capitalism. All this, and more, is covered in M. Keith Booker’s analysis of one of the most talked-about films of recent years.

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John Parrington argues that social interaction and culture have deeply shaped the exceptional nature of human consciousness. The mental capacities of the human mind far outstrip those of other animals. Our imaginations and creativity have produced art, music, and literature; built bridges and cathedrals; enabled us to probe distant galaxies, and to ponder the meaning of our existence. When our minds become disordered, they can also take us to the depths of despair. What makes the human brain unique, and able to generate such a rich mental life? In this book, John Parrington draws on the latest research on the human brain to show how it differs strikingly from those of other animals in its structure and function at a molecular and cellular level. And he argues that this 'shift', enlarging the brain, giving it greater flexibility and enabling higher functions such as imagination, was driven by tool use, but especially by the development of one remarkable tool - language. The complex social interaction brought by language opened up the possibility of shared conceptual worlds, enriched with rhythmic sounds, and images that could be drawn on cave walls. This transformation enabled modern humans to leap rapidly beyond all other species, and generated an exceptional human consciousness, a sense of self that arises as a product of our brain biology and the social interactions we experience. Our minds, even those of identical twins, are unique because they are the result of this extraordinarily plastic brain, exquisitely shaped and tuned by the social and cultural environment in which we grew up and to which we continue to respond through life. Linking early work by the Russian psychologist Lev Vygotsky to the findings of modern neuroscience, Parrington explores how language, culture, and society mediate brain function, and what this view of the human mind may bring to our understanding and treatment of mental illness.

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This publication unveils creative ideas on knowledge transfer from historical references to commercialization of cultural products. It adopts multidisciplinary, cross cultural, and experimental approaches to study the cultural industries, including art, music, popular culture, psychology, entrepreneurship, and economic studies. These scholarly thoughts and ideas were presented in the two conferences held at the Hong Kong Institute of Education in the summer of 2013. The chapters critically evaluate the current situation of the cultural industries and review the underlying relationships between the different sectors in the field. By assessing the development of the cultural industries, the authors hope that market and government intervention can enhance further consolidation and minimize hindrance to the growth of creativity.

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The period between 1920 and 1950 saw an epochal shift in the American cultural economy. The shocks of the 1929 market crash and the Second World War decimated much of the support for high modernist literature, and writers who had relied on wealthy benefactors were forced to find new protectors from the depredations of the free market. Private foundations, universities, and government organizations began to fund the arts, and in this environment writers were increasingly obliged to become critics, elucidating and justifying their work to an audience of elite administrators.In Poet-Critics and the Administration of Culture, Evan Kindley recognizes the major role modernist poet-critics played in the transition from aristocratic patronage to technocratic cultural administration. Poet-critics developed extensive ties to a network of bureaucratic institutions and established dual artistic and intellectual identities to appeal to the kind of audiences and entities that might support their work. Kindley focuses on Anglo-American poet-critics including T. S. Eliot, Marianne Moore, W. H. Auden, Archibald MacLeish, Sterling A. Brown, and R. P. Blackmur. These artists grappled with the task of being “village explainers” (as Gertrude Stein described Ezra Pound) and legitimizing literature for public funding and consumption.Modernism, Kindley shows, created a different form of labor for writers to perform and gave them an unprecedented say over the administration of contemporary culture. The consequences for our understanding of poetry and its place in our culture are still felt widely today.

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This collection of original essays examines debates on how written, printed, visual, and performed works produced meaning in American culture before 1900. The contributors argue that America has been a multimedia culture since the eighteenth century. According to Sandra M. Gustafson, the verbal arts before 1900 manifest a strikingly rich pattern of development and change. From the wide variety of indigenous traditions, through the initial productions of settler communities, to the elaborations of colonial, postcolonial, and national expressive forms, the shifting dynamics of performed, manuscript-based, and printed verbal art capture critical elements of rapidly changing societies. The contributors address performances of religion and government, race and gender, poetry, theater, and song. Their studies are based on texts—intended for reading silently or out loud—maps, recovered speech, and pictorial sources. As these essays demonstrate, media, even when they appear to be fixed, reflected a dynamic American experience. Contributors: Caroline F. Sloat, Matthew P. Brown, David S. Shields, Martin Brückner, Jeffrey H. Richards, Phillip H. Round, Hilary E. Wyss, Angela Vietto, Katherine Wilson, Joan Newlon Radner, Ingrid Satelmajer, Joycelyn Moody, Philip F. Gura, Coleman Hutchison, Oz Frankel, Susan S. Williams, Laura Burd Schiavo, and Sandra M. Gustafson

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The cult of the Christ Child flourished in late medieval Europe across lay and religious, as well as geographic and cultural boundaries. Depictions of Christ's boyhood are found throughout popular culture, visual art, and literature. The Christ Child in Medieval Culture is the first interdisciplinary investigation of how representations of the Christ Child were conceptualized and employed in this period. The contributors to this unique volume analyse depictions of the Christ Child through a variety of frameworks, including the interplay of mortality and divinity, the medieval conceit of a suffering Christ Child, and the interrelationships between Christ and other figures, including saints and ordinary children. The Christ Child in Medieval Culture synthesizes various approaches to interpreting the cultural meaning of medieval religious imagery and illuminates the significance of its most central figure.

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Edges of Empire is a timely reassessment of the history and legacy of Orientalist art and visual culture through its focus on the intersection between modernization, modernism and Orientalism. Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice.

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In this fascinating book, Catherine Yeh explores the Shanghai entertainment world at the close of the Qing dynasty. Established in the 1850s outside of the old walled city, the Shanghai Foreign Settlements were administered by Westerners and so were not subject to the strict authority of the Chinese government. At the center of the dynamic new culture that emerged was the courtesan, whose flamboyant public lifestyle and conspicuous consumption of modern goods set a style that was emulated by other women as they emerged from the "inner quarters" of traditional Chinese society. Many Chinese visitors and sojourners were drawn to the Foreign Settlements. Men of letters seeking a living outside of the government bureaucracy found work in the Settlements’ burgeoning print industry and formed the new class of urban intellectuals. Courtesans fled from oppressive treatment and the turmoil of uprisings elsewhere in China and found unprecedented freedom in Shanghai to redefine themselves and their profession. As the entertainment industry developed, publications sprang up to report on and promote it. Journalists and courtesans found that their interests increasingly coincided, and the Settlements became a cosmopolitan playground. Ritualized role-play based on novels such as Dream of the Red Chamber elevated the status of courtesan entertainment and led to culturally rich interactions between courtesans and their clients. As participants acted out the stories in public, they introduced modern notions of love and romance that were radically at odds with the traditional roles of men and women. Yet because social change arrived in the form of entertainment, it met with little resistance. Yeh shows how this fortuitous combination of people and circumstances, rather than official decisions or acts, created the first multicultural modern city in China. With illustrations from newspapers, novels, travel guides, and postcards, as well as contemporary written descriptions of life in foreign-driven, fast-paced, cutting-edge Shanghai, this study traces the mutual influences among courtesans, intellectuals, and the city itself in creating a modern, market-oriented leisure culture in China. Historians, literary specialists, art critics, and social scientists will welcome this captivating foray into the world of late nineteenth-century popular culture.

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Money and support tend to flow in the direction of economics, science, and other academic departments that demonstrate measurable "progress." The humanities, on the other hand, offer more abstract and uncertain outcomes. A humanist's objects of study are more obscure in certain ways than pathogens and cells. Consequently, it seems as if the humanities never truly progress. Is this a fair assessment? By comparing objects of science, such as the brain, the galaxy, the amoeba, and the quark, with objects of humanistic inquiry, such as the poem, the photograph, the belief, and the philosophical concept, Volney Gay reestablishes a fundamental distinction between science and the humanities. He frees the latter from its pursuit of material-based progress and restores its disciplines to a place of privilege and respect. Using the metaphor of magnification, Gay shows that, while we can investigate natural objects to the limits of imaging capacity, magnifying cultural objects dissolves them into noise. In other words, cultural objects can be studied only within their contexts and through the prism of metaphor and narrative. Gathering examples from literature, art, film, philosophy, religion, science, and psychoanalysis, Gay builds a new justification for the humanities. By revealing the unseen and making abstract ideas tangible, the arts create meaningful wholes, which itself is a form of progress.

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"In this radiant biography, the painter Anne Eisner springs to life as a figure of formidable originality... Christie McDonald’s heroic, feminist work restores Eisner as artist and as a key anthropological observer of her time." - Rosanna Warren, author of Max Jacob: A Life in Art and Letters. This biography traces Anne Eisner's life and art between cultures: from her early years and artistic career in New York, through living at the edge of the Ituri Forest in the ex-Belgian Congo (now Democratic Republic of the Congo), to her return to New York. Eisner came of age in the 1930s and 1940s, with the struggle among artists and intellectuals to combat fascism and create a better world. Leaving behind a successful career as a painter, Anne followed anthropologist Patrick Putnam, with whom she fell in love, to the multi-cultural community of Epulu. As an American woman and painter, her focus on cultural and aesthetic values, her belief in freedom and equality, brought an eccentric perspective to the colonial context. Unanticipated challenges forced her to think about who she was, as she agreed to marry under unfamiliar conditions, became one of the mothers, hosted researchers and tourists, and attempted to care for Putnam in his tragic decline. That her art sustained her throughout as a discipline (sketching, drawing, painting) reveals to what extent Anne was able to express joy in creativity; the beauty of her art testifies to its transformative power.

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