Search results for ""indiana university press""

Dedicated fans of Jane Austen's novels will delight in accompanying historian Jeremy Black through the drawing rooms, chapels, and battlefields of the time in which Austen lived and wrote. In this exceedingly readable and sweeping scan of late 18th- and early 19th-century Britain, Black provides a historical context for a deeper appreciation of classic novels such as Pride and Prejudice, Emma, and Sense and Sensibility. While Austen's novels bring to life complex characters living in intimate surroundings, England in the Age of Austen provides a fuller account of what the village, the church, and the family home would really have been like. In addition to seeing how Austen's own reading helped her craft complex characters like Emma, Black also explores how recurring figures in the novels, such as George III or Fanny Burney, provide a focus for a historical discussion of the fiction in which they appear. Jane Austen's world was the source of her works and the basis of her readership, and understanding that world gives fans new insights into the multifaceted narratives she created.

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To celebrate its 50th anniversary, Faces and Places of IUPUI: Fifty Years in Indianapolis presents the story of the Indiana University—Purdue University Indianapolis campus in a new and unique way. With a focus on the "Fifty Faces of IUPUI," a select group of students, faculty, staff, alumni, and community members chosen by the campus, readers will learn how the campus developed out of the Indiana University School of Medicine in 1903 to become Indiana's premier urban public research university. From remarkable figures from the past such as Joseph T. Taylor, who grew up in the Jim Crow South and later became the Founding Dean of the School of Liberal Arts at IUPUI, to current undergraduates from a multitude of backgrounds and studying a range of disciplines, Faces and Places of IUPUI recounts the fascinating people who help make IUPUI a national and international leader in education and research. Using a combination of archival and contemporary photography, Faces and Places of IUPUI captures these stories and weaves them together to represent the university's evolution.By adopting strength-based educational discourse, contributors to Education Transformation in Muslim Societies reveal how critical the whole-person approach is when enriching the brain and the spirit and instilling hope back into the teaching and learning spaces of many Muslim societies and communities.

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In the 1940s, it was 16 mm film. In the 1980s, it was handheld video cameras. Today, it is cell phones and social media. Activists have always found ways to use the media du jour for quick and widespread distribution.InsUrgent Media from the Front takes a look at activist media practices in the 21st century and sheds light on what it means to enact change using different media of the past and present. Chris Robé and Stephen Charbonneau's edited collection uses the term "insUrgent media" to highlight the ways grassroots media activists challenged and are challenging hegemonic norms like colonialism, patriarchy, imperialism, classism, and heteronormativity. Additionally, the term is used to convey the sense of urgency that defines media activism. Unlike slower traditional media, activist media has historically sacrificed aesthetics for immediacy. Consequently, this "run and gun" method of capturing content has shaped the way activist media looks throughout history.With chapters focused on indigenous resistance, community media, and the use of media as activism throughout US history, InsUrgent Media from the Front emphasizes the wide reach media activism has had over time. Visibility is not enough when it comes to media activism, and the contributors provide examples of how to refocus the field not only to be an activist but to study activism as well.

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In the 1940s, it was 16 mm film. In the 1980s, it was handheld video cameras. Today, it is cell phones and social media. Activists have always found ways to use the media du jour for quick and widespread distribution.InsUrgent Media from the Front takes a look at activist media practices in the 21st century and sheds light on what it means to enact change using different media of the past and present. Chris Robé and Stephen Charbonneau's edited collection uses the term "insUrgent media" to highlight the ways grassroots media activists challenged and are challenging hegemonic norms like colonialism, patriarchy, imperialism, classism, and heteronormativity. Additionally, the term is used to convey the sense of urgency that defines media activism. Unlike slower traditional media, activist media has historically sacrificed aesthetics for immediacy. Consequently, this "run and gun" method of capturing content has shaped the way activist media looks throughout history.With chapters focused on indigenous resistance, community media, and the use of media as activism throughout US history, InsUrgent Media from the Front emphasizes the wide reach media activism has had over time. Visibility is not enough when it comes to media activism, and the contributors provide examples of how to refocus the field not only to be an activist but to study activism as well.

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China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

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From track and field to swimming and diving, and of course basketball and soccer, Indiana University Olympians celebrates over a century of Indiana University Olympic competitors. Beginning in 1904, at the 3rd summer games in St. Louis, IU's first Olympic medal went to pole vaulter LeRoy Samse who earned a silver medal. In 2016, swimmer Lilly King rocketed onto the world stage with two gold medals in the 31st Summer Games in Rio de Janeiro.Featuring profiles of 49 athletes who attended IU, Indiana University Olympians includes the stories of well-known figures like Milt Campbell, the first African American to win decathlon gold and who went on to play pro football, and Mark Spitz, winner of seven swimming gold medals. The book also highlights fascinating anecdotes and the accomplishments of their less well-known colleagues, including one athlete's humble beginnings in a chicken house and another who earned a Silver Star for heroism in the Vietnam War. Despite their different lives, they share one key similarity—these remarkable athletes all called Indiana University home.

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From track and field to swimming and diving, and of course basketball and soccer, Indiana University Olympians celebrates over a century of Indiana University Olympic competitors. Beginning in 1904, at the 3rd summer games in St. Louis, IU's first Olympic medal went to pole vaulter LeRoy Samse who earned a silver medal. In 2016, swimmer Lilly King rocketed onto the world stage with two gold medals in the 31st Summer Games in Rio de Janeiro.Featuring profiles of 49 athletes who attended IU, Indiana University Olympians includes the stories of well-known figures like Milt Campbell, the first African American to win decathlon gold and who went on to play pro football, and Mark Spitz, winner of seven swimming gold medals. The book also highlights fascinating anecdotes and the accomplishments of their less well-known colleagues, including one athlete's humble beginnings in a chicken house and another who earned a Silver Star for heroism in the Vietnam War. Despite their different lives, they share one key similarity—these remarkable athletes all called Indiana University home.

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When Guinean Muslims leave their homeland, they encounter radically new versions of Islam and new approaches to religion more generally. In Remaking Islam in African Portugal, Michelle C. Johnson explores the religious lives of these migrants in the context of diaspora. Since Islam arrived in West Africa centuries ago, Muslims in this region have long conflated ethnicity and Islam, such that to be Mandinga or Fula is also to be Muslim. But as they increasingly encounter Muslims not from Africa, as well as other ways of being Muslim, they must question and revise their understanding of "proper" Muslim belief and practice. Many men, in particular, begin to separate African custom from global Islam. Johnson maintains that this cultural intersection is highly gendered as she shows how Guinean Muslim men in Lisbon—especially those who can read Arabic, have made the pilgrimage to Mecca, and attend Friday prayer at Lisbon's central mosque—aspire to be cosmopolitan Muslims. By contrast, Guinean women—many of whom never studied the Qur'an, do not read Arabic, and feel excluded from the mosque—remain more comfortably rooted in African custom. In response, these women have created a "culture club" as an alternative Muslim space where they can celebrate life course rituals and Muslim holidays on their own terms. Remaking Islam in African Portugal highlights what being Muslim means in urban Europe and how Guinean migrants' relationships to their ritual practices must change as they remake themselves and their religion.

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Staging Cultural Encounters tells stories about performances of cultural encounter and cultural exchange during the US tour of the Algerian theater troupe Istijmam Culturelle in 2016. Jane E. Goodman follows the Algerian theater troupe as they prepare for and then tour the U.S. under the auspices of the Center Stage program, sponsored by the US State Department to promote cross-cultural dialogue and understanding. The title of the play Istijmam produced was translated as "Apples," written by Abdelkader Alloula, a renowned Algerian playwright, director, and actor who was assassinated in 1994. Goodman take readers on tour with the actors as they move from the Kennedy Center in Washington, D.C. to the large state universities of New Hampshire and Indiana, and from a tiny community theater in small-town New England to the stage of the avant-garde La MaMa Theater in New York City. Staging Cultural Encounters takes up conundrums of cross-cultural encounter, challenges in translation, and audience reception, offering a frank account of the encounters with American audiences and the successes and disappointments of the experience of exchange.

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In Europe's last primeval forest, at Poland's easternmost border with Belarus, the deep past of ancient oaks, woodland bison, and thousands of species of insects and fungi collides with authoritarian and communist histories. Foresters, biologists, environmentalists, and locals project the ancient Białowieża Forest as a series of competing icons in struggles over memory, land, and economy, which are also struggles about whether to log or preserve the woodland; whether and how to celebrate the mixed ethnic Polish/Belarusian peasant past; and whether to align this eastern outpost with ultraright Polish political parties, neighboring Belarus, or the European Union. Eunice Blavascunas provides an intimate ethnographic account, gathered in more than 20 years of research, to untangle complex forest conflicts between protection and use. She looks at which pasts are celebrated, which fester, and which are altered in the tumultuous decades following the collapse of communism. Foresters, Borders, and Bark Beetles is a timely and fascinating work of cultural analysis and storytelling that textures its ethnographic reading of people with the agency of the forest itself and its bark beetle outbreaks, which threaten to alter the very composition of the forest in the age of the Anthropocene.

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Ernst Lubitsch (1982–1947) was one of the most successful and influential German filmmakers in American film comedy. In this volume, Rick McCormick argues for a more transnational view of Lubitsch's career and films with respect to nationality, ethnicity, migration, class, sexuality, and gender. McCormick focuses on Lubitsch's Jewishness, which is inseparable from the distinct transnational character of the director, categorizing his early films as "Jewish comedies" where Lubitsch strikes a tenuous balance between Jewish humor, antisemitic jokes, stereotypes, and the incorporation of antifascist subjects into his popular films. Above all, the larger political issues at stake in Lubitsch's work are brought forward: German-Jewish perspectives and experiences, the subtle treatment of covert political and social messages, and the relationship of comedy, especially sexual comedy, to emancipatory politics and, in particular, to the turbulent politics of Europe and the United States in the first half of the twentieth century.The book discusses in depth the following films by Lubitsch: The Pride of the Firm (1914), Shoe Palace Pinkus (1916), Meyer From Berlin (1918), I Don't Want to Be a Man (1918), The Oyster Princess (1919), Madame Dubarry (1919), The Doll (1919), Sumurun (1920), The Wildcat (1921), The Marriage Circle (1924), The Student Prince in Old Heidelberg (1927), The Love Parade (1929), The Man I Killed (1932), Trouble in Paradise (1932), Design for Living (1933), Ninotchka (1939), The Shop Around the Corner (1940), and To Be or Not to Be (1942).

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In The Chinese Atlantic, Sean Metzger charts processes of global circulation across and beyond the Atlantic, exploring how seascapes generate new understandings of Chinese migration, financial networks and artistic production. Moving across film, painting, performance, and installation art, Metzger traces flows of money, culture, and aesthetics to reveal the ways in which routes of commerce stretching back to the Dutch Golden Age have molded and continue to influence the social reproduction of Chineseness. With a particular focus on the Caribbean, Metzger investigates the expressive culture of Chinese migrants and the communities that received these waves of people. He interrogates central issues in the study of similar case studies from South Africa and England to demonstrate how Chinese Atlantic seascapes frame globalization as we experience it today. Frequently focusing on art that interacts directly with the sites in which it is located, Metzger explores how Chinese migrant laborers and entrepreneurs did the same to shape—both physically and culturally—the new spaces in which they found themselves. In this manner, Metzger encourages us to see how artistic imagination and practice interact with migration to produce a new way of framing the global.

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The diary as a genre is found in all literate societies, and these autobiographical accounts are written by persons of all ranks and positions. The Diary offers an exploration of the form in its social, historical, and cultural-literary contexts with its own distinctive features, poetics, and rhetoric. The contributors to this volume examine theories and interpretations relating to writing and studying diaries; the formation of diary canons in the United Kingdom, France, United States, and Brazil; and the ways in which handwritten diaries are transformed through processes of publication and digitization. The authors also explore different diary formats, including the travel diary, the private diary, conflict diaries written during periods of crisis, and the diaries of the digital era, such as blogs. The Diary offers a comprehensive overview of the genre, synthesizing decades of interdisciplinary study to enrich our understanding of, research about, and engagement with the diary as literary form and historical documentation.

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In a century marked by totalitarian regimes, genocide, mass migrations, and shifting borders, the concept of memory in Eastern Europe is often synonymous with notions of trauma. In Ukraine, memory mechanisms were disrupted by political systems seeking to repress and control the past in order to form new national identities supportive of their own agendas. With the collapse of the Soviet Union, memory in Ukraine was released, creating alternate visions of the past, new national heroes, and new victims. This release of memories led to new conflicts and "memory wars."How does the past exist in contemporary Ukraine? The works collected in The Burden of the Past focus on commemorative practices, the politics of history, and the way memory influences Ukrainian politics, identity, and culture. The works explore contemporary memory culture in Ukraine and the ways in which it is being researched and understood. Drawing on work from historians, sociologists, anthropologists, psychologists, and political scientists, the collection represents a truly interdisciplinary approach. Taken together, the groundbreaking scholarship collected in The Burden of the Past provides insight into how memories can be warped and abused, and how this abuse can have lasting effects on a country seeking to create a hopeful future.

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Motor City Movie Culture, 1916–1925 is a broad textured look at Hollywood coming of age in a city with a burgeoning population and complex demographics. Richard Abel investigates the role of local Detroit organizations in producing, distributing, exhibiting, and publicizing films in an effort to make moviegoing part of everyday life. Tapping a wealth of primary source material—from newspapers, spatiotemporal maps, and city directories to rare trade journals, theater programs, and local newsreels—Abel shows how entrepreneurs worked to lure moviegoers from Detroit's diverse ethnic neighborhoods into the theaters. Covering topics such as distribution, programming practices, nonfiction film, and movie coverage in local newspapers, with entr'actes that dive deeper into the roles of key individuals and organizations, this book examines how efforts in regional metropolitan cities like Detroit worked alongside California studios and New York head offices to bolster a mass culture of moviegoing in the United States.

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Theatrical gender-bending, also called drag, is a popular form of entertainment and a subject of scholarly study. However, most drag studies do not question the standard words and ideas used to convey this performance genre. Drawing on a rich body of archival and ethnographic research, Meredith Heller illuminates diverse examples of theatrical gender-bending: male impersonation in variety and vaudeville (1860–1920); the "sexless" gender-bending of El Teatro Campesino (1960–1980); queer butch acts performed by black nightclub singers, such as Stormé DeLarverie, instigator of the Stonewall riots (1910–1970); and the range of acts that compose contemporary drag king shows. Heller highlights how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods, nor do they provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity, and it models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. This new drag discourse not only allows for more complete and accurate descriptions of drag acts, but it also facilitates more ethical discussions about the bodies, identities, and products of drag performers.

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A distinctive focus of 19th- and 20th-century Latin American philosophy is the convergence of identity formation and political liberation in ethnically and racially diverse postcolonial contexts. From this perspective, Omar Rivera interprets how a "we" is articulated and deployed in central political texts of this robust philosophical tradition. In particular, by turning to the work of Peruvian political theorist José Carlos Mariátegui among others, Rivera critiques philosophies of liberation that are invested in the redemption of oppressed identities as conditions for bringing about radical social and political change, foregrounding Latin America's complex histories and socialities to illustrate the power and shortcomings of these projects. Building on this critical approach, Rivera studies interrelated epistemological, transcultural, and aesthetic delimitations of Latin American philosophy in order to explore the possibility of social and political liberation "beyond redemption."

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Since his death, Abraham Lincoln has been celebrated as savior of the Union, proponent for emancipation, president of the United States, and skilled statesman. Although Lincoln's adult life has been well documented and analyzed, most biographers have regarded his early years as inconsequential to his career and accomplishments.In 1920 a group of historians known as the Lincoln Inquiry were determined to give Lincoln's formative years their due. Abe's Youth takes a look into their writings, which focus on Lincoln's life between 7 and 21 years of age. By filling in the gaps on Lincoln's childhood, these authors shed light on how his experiences growing up influenced the man he became. As the first fully annotated edition of the Lincoln Inquiry papers, Abe's Youth offers indispensable reading for anyone hoping to learn about Lincoln's early life.

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The Wild West is infamous for its outrageous stories, cowboys, and gun battles. But the region is also known for its ghost stories, unexplained deaths, bizarre murders, and peculiar burials.In Weird Wild West, author Keven McQueen brings together a fabulous collection of tales of the darker and stranger side of Texas, Oklahoma, Nevada, North Dakota, South Dakota, Utah, Arizona, New Mexico, Idaho, Montana, Colorado, Wyoming, Oregon, and Washington. Exploring mysterious deaths, true crime stories, and paranormal activity, this eerie collection uncovers long buried and disturbing stories of the region. Included are the unforgettable tales of the body-snatching of Billy the Kid, the revenge curse of a former deputy district attorney in Colorado, and the weird tale of Mr. Moon, who couldn't keep his dearly departed wife in the ground despite his best efforts.An intriguing, frightful, and entertaining exploration of the strange and gothic side of the Western states, Weird Wild West promises to send chills down your spine.

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How does commitment to a university become so significant that it prompts giving that can impact generations of students? Are donors motivated by their own experiences, memories of friends and mentors, or aspirations to fund cutting edge research, teaching, and service?At Indiana University, authentic and trusting partnerships pave the way for donors to invest in the causes they believe in, resulting in the creation of knowledge, of opportunity, and of beauty across campus. The Spirit of Generosity: Shaping IU through Philanthropy shares compelling stories of thirteen partnerships that have advanced the common good at Indiana University. These relationships, though unique, are founded on the understanding that gifts reflect the values and dreams of donors. Whether giving endows a chair, funds scholarships, or renovates buildings, it is infused with deep meaning and leaves a lasting impact on the university community. This book honors the generosity of spirit that motivates philanthropy and helps Indiana University fulfill its mission to provide broad access to education, excel in innovative research and teaching, and improve the human condition.

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The Birds of Indiana is a treasure-trove for ornithologists, casual birders, and art-lovers everywhere. Drawing on decades of field work and data collection and featuring the paintings of one of America's finest bird artists, this classic work is an introduction, a reference, and most importantly, a natural history of Indiana's birds, including over 390 species. Authors Russell E. Mumford and Charles E. Keller provide detailed information on each species, including the bird's past and current status, the timing of migrations, the density and location of populations month by month, and the influence of habitat. Indispensable for the text alone, the paintings by William Zimmerman, one of America's greatest bird artists, make the book a collector's item that will be admired and appreciated for centuries. With a scientist's eye and a craftsman's skill, Zimmerman brings each of the 165 birds that nests in the state to life in lavish detail. Readers can almost feel the feathers—and the life force beneath them—in his birds. Each intricate painting reveals the plumage (including both male and female when there are significant differences), the nest and eggs, background habitat, and in many cases a wildflower or two.A work of art as well as science, The Birds of Indiana belongs in any and every collection of bird books. No ornithologist or casual birder—expert or beginner—in Indiana, the Midwest, or the eastern United States can afford to be without it.

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Charlie Chaplin once said, "Life is a tragedy when seen in close-up, but a comedy in long shot."Chaplin released the first of his four autobiographies in 1916 when he was on top of the world. He had just signed to appear in films for Mutual Company for the massive sum of $670,000. Three years earlier, he was earning $150 per week.However, within weeks of its release, his autobiography was withdrawn by its publisher, and all copies were thought to have been destroyed due to accusations of "ghost-writing" and Chaplin being less than accurate with the truth of his life.Charlie Chaplin's Own Story covers Chaplin's earliest life through his first brushes with fame and depicts Chaplin as he wished to be seen in 1916. Its naivete and pseudo-Dickensian portrayal of Chaplin's childhood give us an invaluable glimpse into the psyche of the man behind "The Little Tramp."Honoring the 130th anniversary of Chaplin's birth, this unique edition is illustrated with more than 20 black-and-white photographs. Professor Harry M. Geduld provides a unique and authoritative introduction to Chaplin's earliest theatrical career, which Chaplin himself discussed only sporadically.

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Philosopher John Lachs observes that humans today live lives of comfort but also sees that these comfortable lives come at a cost: our increasing unhappiness. In The Cost of Comfort, Lachs contemplates what humans need in order to live fulfilled lives in today's world. While comfort has not always reached everyone evenly, Lachs acknowledges that most of us who live in the US today reap the benefits of modern life. We live longer, we eat better food, we have access to good medical care, and we can stay in touch with loved ones who are far away. Lachs argues that this dizzyingly complex world often inspires isolation, but he believes that deeper engagement with it is required in order to dispel our growing psychic distance. Lachs advocates for mediation and champions education, advertising, openness, and transparency to help individuals understand the role they play in society and to nullify claims to blamelessness. Lachs suggests new rules for responsibility and argues that examining and understanding the consequences of one's actions is imperative to overcoming the ills and problems of the modern world.

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In this comprehensive study of Olivier Messiaen's magnum opus, Saint François d'Assise, Vincent Perez Benitez examines the opera from both theological and musical-analytical perspectives to ask how Messiaen expresses his Catholic theology through his work. Benitez combines a close reading of the opera score with accounts from Messiaen's associates, studies of Messiaen's birdsong notebooks and other primary documents, and an examination of the religious, musical, poetic, and visual arts literature with which the composer was familiar to explore how the opera's harmonic language and sound-color relationships motivate its musical meaning and expression. Through his analysis of these diverse sources and comparisons of Saint François d'Assise with other works such as Berg's Wozzeck and Wagner's Parsifal, Benitez places Messiaen's compositional practice within larger musical perspectives and historical contexts.

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For 60 years, scientists from the United States and the Soviet Union participated in state-organized programs of collaboration. But what really happened in these programs? What were the hopes of the participants and governments? How did these programs weather the bumpiest years of political turbulence? And were the programs worth the millions of dollars invested in them? From Pugwash to Putin provides accounts from 63 insiders who participated in these programs, including interviews with scientists, program managers, and current or former government officials. In their own words, these participants discuss how and why they engaged in cooperative science, what their initial expectations were, and what lessons they learned. They tell stories of gravitational waves, classified chalkboards, phantom scientists, AIDS propaganda, and gunfire at meteorological stations, illustrating the tensions and benefits of this collaborative work. From the first scientific exchanges of the Cold War years through the years following the fall of the Soviet Union, Gerson S. Sher provides a sweeping and critical history of what happens when science is used as a foreign policy tool. Sher, a former manager of these cooperative programs, provides a detailed and critical assessment of what worked, what didn't, and why it matters.

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Too often the study of philosophical texts is carried out in ways that do not pay significant attention to how the ideas contained within them are presented, articulated, and developed. This was not always the case. The contributors to this collected work consider Jewish philosophy in the medieval period, when new genres and forms of written expression were flourishing in the wake of renewed interest in ancient philosophy. Many medieval Jewish philosophers were highly accomplished poets, for example, and made conscious efforts to write in a poetic style. This volume turns attention to the connections that medieval Jewish thinkers made between the literary, the exegetical, the philosophical, and the mystical to shed light on the creativity and diversity of medieval thought. As they broaden the scope of what counts as medieval Jewish philosophy, the essays collected here consider questions about how an argument is formed, how text is put into the service of philosophy, and the social and intellectual environment in which philosophical texts were produced.

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Race, Class, and the Civil Rights Movement is a unique sociohistorical analysis of the civil rights movement. In it, Jack M. Bloom analyzes the interaction between the economy and political systems in the South, which led to racial stratification.Praise for the first edition:"A unique sociohistorical analysis of the civil rights movement, analyzing the interaction between the economy and political systems in the South, which led to racial stratification. An intriguing look at the interplay of race and class, this work is both scholarly and jargon-free. A sophisticated study."–Library Journal"This is an exciting book combining dramatic episodes with an insightful analysis.The use of concepts of class is subtle and effective." –Peter N. Stearns"Ambitious and wide-ranging." –Georgia Historical Quarterly"Excellent historical analysis." –North Carolina Historical Review"Historians should welcome this book. A well-written, jargon-free interpretive synthesis, it relates impersonal political-economic forces to the human actors who were shaped by them and, in turn, helped shape them . . . . This refreshing study reminds us how much the American dilemma of race has been complicated by problems of class." –American Historical Review"A broad historical sweep . . . . Skillfully surveys key areas of historiographical debate and succinctly summarizes a good deal of recent secondary literature." –Journal of Southern History"Bloom does a masterful job of presenting the major structural and psychological interpretations associated with the Civil Rights Movement. . . . It will make an excellent general text to welcome undergraduates and reintroduce old-timers to the social ferment that surrounded the civil rights movement." –Contemporary Sociology

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Ubuntu is premised on the ethical belief that an individual's humanity is fostered in a network of human relationships: I am because you are; we are because you are. The essays in this lively volume elevate the debate about ubuntu beyond the buzzword it has become, especially within South African religious and political contexts. The seasoned scholars and younger voices gathered here grapple with a range of challenges that ubuntu puts forward. They break down its history and analyze its intellectual surroundings in African philosophical traditions, European modernism, religious contexts, and human rights discourses. The discussion embraces questions about what it means to be human and to be a part of a community, giving attention to moments of loss and fragmentation in postcolonial modernity, to come to a more meaningful definition of belonging in a globalizing world. Taken together, these essays offer a rich understanding of ubuntu in all of its complexity and reflect on a value system rooted in the everyday practices of ordinary people in their daily encounters with churches, schools, and other social institutions.

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Even though many of France's former colonies became independent over fifty years ago, the concept of "colony" and who was affected by colonialism remain problematic in French culture today. Seloua Luste Boulbina, an Algerian-French philosopher and political theorist, shows how the colony's structures persist in the subjectivity, sexuality, and bodily experience of human beings who were once brought together through force. This text, which combines two works by Luste Boulbina, shows how France and its former colonies are haunted by power relations that are supposedly old history, but whose effects on knowledge, imagination, emotional habits, and public controversies have persisted vividly into the present. Luste Boulbina draws on the work of Michel Foucault, Frantz Fanon, and Édouard Glissant to build a challenging, original, and intercultural philosophy that responds to blind spots of inherited political and social culture. Kafka's Monkey and Other Phantoms of Africa offers unique insights into how issues of migration, religious and ethnic identity, and postcolonial history affect contemporary France and beyond.

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In Der Nister's Soviet Years, author Mikhail Krutikov focuses on the second half of the dramatic writing career of Soviet Yiddish writer Der Nister, pen name of Pinhas Kahanovich (1884–1950). Krutikov follows Der Nister's painful but ultimately successful literary transformation from his symbolist roots to social realism under severe ideological pressure from Soviet critics and authorities. This volume reveals how profoundly Der Nister was affected by the destruction of Jewish life during WWII and his own personal misfortunes. While Der Nister was writing a history of his generation, he was arrested for anti-government activities and died tragically from a botched surgery in the Gulag. Krutikov illustrates why Der Nister's work is so important to understandings of Soviet literature, the Russian Revolution, and the catastrophic demise of the Jewish community under Stalin.

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Nitzan Lebovic claims that political melancholy is the defining trait of a generation of Israelis born between the 1960s and 1990s. This cohort came of age during wars, occupation and intifada, cultural conflict, and the failure of the Oslo Accords. The atmosphere of militarism and conservative state politics left little room for democratic opposition or dissent. Lebovic and others depict the failure to respond not only as a result of institutional pressure but as the effect of a long-lasting "left-wing melancholy." In order to understand its grip on Israeli society, Lebovic turns to the novels and short stories of Israel Zarchi. For him, Zarchi aptly describes the gap between the utopian hope present in Zionism since its early days and the melancholic reality of the present. Through personal engagement with Zarchi, Lebovic develops a philosophy of melancholy and shows how it pervades Israeli society.

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Responding to shifts in the political and economic experiences of Mexicans in America, this newly revised and expanded edition of Mexicanos provides a relevant and contemporary consideration of this vibrant community. Emerging from the ruins of Aztec civilization and from centuries of Spanish contact with indigenous people, Mexican culture followed the Spanish colonial frontier northward and put its distinctive mark on what became the southwestern United States. Shaped by their Indian and Spanish ancestors, deeply influenced by Catholicism, and often struggling to respond to political and economic precarity, Mexicans play an important role in US society even as the dominant Anglo culture strives to assimilate them. With new maps, updated appendicxes, and a new chapter providing an up-to-date consideration of the immigration debate centered on Mexican communities in the US, this new edition of Mexicanos provides a thorough and balanced contribution to understanding Mexicans' history and their vital importance to 21st-century America.

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From the fall of 1947 through the summer of 1951 composer Igor Stravinsky and poet W. H. Auden collaborated on the opera The Rake's Progress. At the time, their self-consciously conventional work seemed to appeal only to conservative audiences. Few perceived that Stravinsky and Auden were confronting the central crisis of the Modern age, for their story of a hapless eighteenth-century Everyman dramatizes the very limits of human will, a theme Auden insists underlies all opera. In The Last Opera, Chandler Carter weaves together three interlocking stories. The central and most detailed story explores the libretto and music of The Rake's Progress. The second positions the opera as a focal point in Stravinsky's artistic journey and those who helped him realize it—his librettists, Auden and Chester Kallman; his protégé Robert Craft; and his compatriot, fellow composer, and close friend Nicolas Nabokov. By exploring the ominous cultural landscape in which these fascinating individuals lived and worked, the book captures a pivotal twenty-five-year span (from approximately 1945 to 1970) during which modernists like Stravinsky and Auden confronted a tectonic disruption to their artistic worldview. Ultimately, Carter reveals how these stories fit into a larger third narrative, the 400-year history of opera. This richly and lovingly contextualized study of The Rake's Progress sheds new light on why, despite the hundreds of musical dramas and theater pieces that have been written since its premier in 1951, this work is still considered the "the last opera."

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In these eight darkly comic stories, Tom Howard explores the instincts for violence and tenderness that mark his character's lives. A brother and sister wander the pier after a deadly plague destroys most of humanity. A high school bully struggles to overcome his demons. A man in the grips of dementia is visited by his children's ghosts. The people in these blistering tales grapple with past mistakes, trying to navigate their way toward redemption and resurrection and failing often—but always with a ferocious heart. Their unforgettable voices guide us through schoolyards, cemeteries, drive-in theaters, and the rich landscapes of their own imaginations.Equal parts funny, tragic, and wise, Fierce Pretty Things is a striking debut that teaches us how to live in a world as cruel as it is beautiful.

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William S. Burroughs Cutting Up the Century is the definitive book on Burroughs' overarching cut-up project and its relevance to the American twentieth century. Burroughs's Nova Trilogy (The Soft Machine, Nova Express, and The Ticket That Exploded) remains the best-known of his textual cut-up creations, but he committed more than a decade of his life to searching out multimedia for use in works of collage. By cutting up, folding in, and splicing together newspapers, magazines, letters, book reviews, classical literature, audio recordings, photographs, and films, Burroughs created an eclectic and wide-ranging countercultural archive. This collection includes previously unpublished work by Burroughs such as cut-ups of work written by his son, cut-ups of critical responses to his own work, collages on the Vietnam War and the Watergate scandal, excerpts from his dream journals, and some of the few diary entries that Burroughs wrote about his wife, Joan.William S. Burroughs Cutting Up the Century also features original essays, interviews, and discussions by established Burroughs scholars, respected artists, and people who encountered Burroughs. The essays consider Burroughs from a range of starting points—literary studies, media studies, popular culture, gender studies, post-colonialism, history, and geography. Ultimately, the collection situates Burroughs as a central artist and thinker of his time and considers his insights on political and social problems that have become even more dire in ours.

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As Irish republicans sought to rid the country of British rule and influence in the early 20th century, a clear delineation was made between what was "authentically" Irish and what was considered to be English influence. As a member of the Anglo-Irish elite who inhabited a precarious identity somewhere in between, R. M. Smyllie found himself having to navigate the painful experience of being made to feel an outsider in his own homeland. Smyllie's role as an influential editor of the Irish Times meant he had to confront most of the issues that defined the Irish experience, from Ireland's neutrality during World War II to the fraught cultural claims surrounding the Irish language and literary censorship. In this engaging consideration of a bombastic, outspoken, and conflicted man, Caleb Wood Richardson offers a way of seeing Smyllie as representative of the larger Anglo-Irish experience. Richardson explores Smyllie's experience in a German internment camp in World War I, his foreign correspondence work for the Irish Times at the Paris Peace Conference, and his guiding hand as an advocate for cultural and intellectualism. Smyllie had a direct influence on the careers of writers such as Patrick Kavanagh and Louis MacNeice, and his surprising decision to include an Irish-language column in the paper had an enormous impact on the career of novelist Flann O'Brien. Smyllie, like many of his class, felt a strong political connection to England at the same time as he had enduring cultural dedications to Ireland. How Smyllie and his generation navigated the collision of identities and allegiances helped to define what Ireland is today.

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Offering a rare look at the musical life of Russia Abroad as it unfolded in New York City, Natalie K. Zelensky examines the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan's Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World's Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today's Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music's sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Performing Tsarist Russia in New York presents a close historical and ethnographic examination of music's potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.

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Drawing on research conducted on Chios during the sovereign debt crisis that struck Greece in 2010, Nicolas Argenti follows the lives of individuals who symbolize the transformations affecting this Aegean island. As witnesses to the crisis speak of their lives, however, their current anxieties and frustrations are expressed in terms of past crises that have shaped the dramatic history of Chios, including the German occupation in World War II and the ensuing famine, the exchange of populations between Greece and Turkey of 1922–23, and the Massacres of 1822 that decimated the island at the outset of the Greek War of Independence. The complex temporality that emerges in these accounts is ensconced in a cultural context of commemorative ritual, ecstatic visions, an annual rocket war, and other embodied practices that contribute to forms of memory production that question the assumptions of the trauma discourse, revealing the islanders of Chios to be active in forging their place in time in a manner that blurs the boundaries between historiography, memory, religion, and myth. A member of the Chiot diaspora, Argenti makes use of unpublished correspondence from survivors of the Massacres of 1822 and their descendants and reflects on oral family histories and silences in which the island represents an enigmatic but palpable absence. As he explores the ways in which a body of memory and a cultural experience of temporality came to be dislocated and shared between two populations, his return to Chios marks an encounter in which the traditional roles of ethnographer and participant come to be dispersed and intertwined.

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During the mid-19th century, the works of Arthur Schopenhauer and Richard Wagner sparked an impulse toward German cultural renewal and social change that drew on religious myth, metaphysics, and spiritualism. The only problem was that their works were deeply antisemitic and entangled with claims that Jews were incapable of creating compassionate art. By looking at the works of Jewish composers and writers who contributed to a lively and robust biblical theatre in fin de siècle Vienna, Caroline A. Kita shows how they reimagined myths of the Old Testament to offer new aesthetic and ethical views of compassion. These Jewish artists, including Gustav Mahler, Siegfried Lipiner, Richard Beer-Hofmann, Stefan Zweig, and Arnold Schoenberg, reimagined biblical stories through the lens of the modern Jewish subject to plead for justice and compassion toward the Jewish community. By tracing responses to antisemitic discourses of compassion, Kita reflects on the explicitly and increasingly troubled political and social dynamics at the end of the Habsburg Empire.

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This volume of the collected writings of John Sallis presents a two-semester lecture course on Maurice Merleau-Ponty given at Duquesne University from 1970 to 1971. Devoted primarily to a close reading of the French philosopher's magnum opus, Phenomenology of Perception, the course begins with a detailed analysis of The Structure of Behavior. The central topics considered in the lectures include the functions of the phenomenological body; beyond realism and idealism; the structures of the lived world; spatiality, temporality, language, sexuality; and perception and knowledge. Sallis illuminates Merleau-Ponty's first two works and offers a thread to follow through developments in his later essays. Merleau-Ponty's notion of the primacy of perception and his claim that "the end of a philosophy is the account of its beginning" are woven throughout the lectures. For Sallis's part, these lectures are foundational for his extended engagement with Merleau-Ponty's The Visible and the Invisible, which was published in Sallis's Phenomenology and the Return to Beginnings.

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In Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack, Judah M. Cohen demonstrates that Jews constructed a robust religious musical conversation in the United States during the mid- to late-19th century. While previous studies of American Jewish music history have looked to Europe as a source of innovation during this time, Cohen's careful analysis of primary archival sources tells a different story. Far from seeing a fallow musical landscape, Cohen finds that Central European Jews in the United States spearheaded a major revision of the sounds and traditions of synagogue music during this period of rapid liturgical change.Focusing on the influences of both individuals and texts, Cohen demonstrates how American Jewish musicians sought to balance artistry and group singing, rather than "progressing" from solo chant to choir and organ. Congregations shifted between musical genres and practices during this period in response to such factors as finances, personnel, and communal cohesiveness. Cohen concludes that the "soundtrack" of 19th-century Jewish American music heavily shapes how we look at Jewish American music and life in the first part of the 21st-century, arguing that how we see, and especially hear, history plays a key role in our understanding of the contemporary world around us. Supplemented with an interactive website that includes the primary source materials, recordings of the music discussed, and a map that highlights the movement of key individuals, Cohen's research defines more clearly the sound of 19th-century American Jewry.

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How can teachers introduce Islam to students when daily media headlines can prejudice students' perception of the subject? Should Islam be taught differently in secular universities than in colleges with a clear faith-based mission? What are strategies for discussing Islam and violence without perpetuating stereotypes? The contributors of Teaching Islamic Studies in the Age of ISIS, Islamophobia, and the Internet address these challenges head-on and consider approaches to Islamic studies pedagogy, Islamophobia and violence, and suggestions for how to structure courses. These approaches acknowledge the particular challenges faced when teaching a topic that students might initially fear or distrust. Speaking from their own experience, they include examples of collaborative teaching models, reading and media suggestions, and ideas for group assignments that encourage deeper engagement and broader thinking. The contributors also share personal struggles when confronted with students (including Muslim students) and parents who suspected the courses might have ulterior motives. In an age of stereotypes and misrepresentations of Islam, this book offers a range of means by which teachers can encourage students to thoughtfully engage with the topic of Islam.

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As oil-rich countries in the Middle East are increasingly associated with soaring skyscrapers and modern architecture, attention is being diverted away from the pervasive struggles of social housing in those same urban settings. Social Housing in the Middle East traces the history of social housing—both gleaming postmodern projects and bare-bones urban housing structures—in an effort to provide a wider understanding of marginalized spaces and their impact on identities, communities, and class. While architects may have envisioned utopian or futuristic experiments, these buildings were often constructed with the knowledge and skill sets of local workers, and the housing was in turn adapted to suit the modern needs of residents. This tension between local needs and national aspirations are linked to issues of global importance, including security, migration, and refugee resettlement. The essays collected here consider how culture, faith, and politics influenced the solutions offered by social housing; they provide an insightful look at how social housing has evolved since the 19th century and how it will need to adapt to suit the 21st.

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Entangled in the hybrid fields of ecomedia studies and material ecocriticism, Elena Past examines five Italian films shot on location and ponders the complex relationships that the production crews developed with the filming locations and the nonhuman cast members. She uses these films—Red Desert (1964), The Winds Blows Round (2005), Gomorrah (2008), Le quattro volte (2010), and Return to the Aeolian Islands (2010)—as case studies to explore pressing environmental questions such as cinema's dependence on hydrocarbons, the toxic waste crisis in the region of Campania, and our reliance on the nonhuman world. Dynamic and unexpected actors emerge as the subjects of each chapter: playful goats, erupting volcanoes, airborne dust particles, fluid petroleum, and even the sound of silence. Based on interviews with crew members and close readings of the films themselves, Italian Ecocinema Beyond the Human theorizes how filmmaking practice—from sound recording to location scouting to managing a production—helps uncover cinema's ecological footprint and its potential to open new perspectives on the nonhuman world.

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On June 6, 1944, Werner T. Angress parachuted down from a C-47 into German-occupied France with the 82nd Airborne Division. Nine days later, he was captured behind enemy lines and, concealing his identity as a German-born Jew, became a prisoner of war. Eventually, he was freed by US forces, rejoined the fight, crossed Europe as a battlefield interrogator, and participated in the liberation of a concentration camp. Although he was an American soldier, less than ten years before he had been an enthusiastically patriotic German-Jewish boy. Rejected and threatened by the Nazi regime, the Angress family fled to Amsterdam to escape persecution and death, and young Angress then found his way to the United States. In Witness to the Storm, Angress weaves the spellbinding story of his life, including his escape from Germany, his new life in the United States, and his experiences in World War II. A testament to the power of perseverance and forgiveness, Witness to the Storm is the compelling tale of one man's struggle to rescue the country that had betrayed him.

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As a border state and strategic territory, Kentucky was fiercely contested by the Union and the Confederacy and had ties to both Abraham Lincoln and Jefferson Davis. Kentucky natives and adventure aficionados Cameron M. Ludwick and Blair Thomas Hess plot the course for a fun-filled road trip through history and across the Bluegrass State in Presidents, Battles, and Must-See Civil War Destinations.Ludwick and Hess make planning a trip to historic Kentucky easy by exploring the history and stories behind each major site and highlighting nearby attractions you won't want to miss. Featuring step-by-step guidelines and exclusive tips on sites, monuments, and attractions from presidential homes to the best modern re-enactments, Presidents, Battles, and Must-See Civil War Destinations helps the whole family experience and enjoy history together.

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Alyssa Quint focuses on the early years of the modern Yiddish theater, from roughly 1876 to 1883, through the works of one of its best-known and most colorful figures, Avrom Goldfaden. Goldfaden (né Goldenfaden, 1840-1908) was one of the first playwrights to stage a commercially viable Yiddish-language theater, first in Romania and then in Russia. Goldfaden's work was rapidly disseminated in print and his plays were performed frequently for Jewish audiences. Sholem Aleichem considered him as a forger of a new language that "breathed the European spirit into our old jargon." Quint uses Goldfaden's theatrical works as a way to understand the social life of Jewish theater in Imperial Russia. Through a study of his libretti, she looks at the experiences of Russian Jewish actors, male and female, to explore connections between culture as artistic production and culture in the sense of broader social structures. Quint explores how Jewish actors who played Goldfaden's work on stage absorbed the theater into their everyday lives. Goldfaden's theater gives a rich view into the conduct, ideology, religion, and politics of Jews during an important moment in the history of late Imperial Russia.

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For roughly two decades after the collapse of the military regime in 1983, testimonial narrative was viewed and received as a privileged genre in Argentina. Today, however, academics and public intellectuals are experiencing "memory fatigue," a backlash against the concepts of memory and trauma, just as memory and testimonial films have reached the center of Argentinian public discourse. In Rethinking Testimonial Cinema in Postdictatorship Argentina, Verónica Garibotto looks at the causes for this reticence and argues that, rather than discarding memory texts for their repetitive excess, it is necessary to acknowledge them and their exhaustion as discourses of the present.By critically examining how trauma theory and subaltern studies have previously been applied to testimonial cinema, Garibotto rereads Argentinian films produced since 1983 and calls for an alternate interpretive framework at the intersection of semiotics, theories of affect, scholarship on hegemony, and the ideological uses of documentary and fiction. She argues that recurrent concepts—such as trauma, mourning, memory, and subalternity—miss how testimonial films have changed over time, shifting from subaltern narratives to official, hegemonic, and iconic accounts. Her work highlights the urgent need to continue to study these types of narratives, particularly at a time when military dictatorships have become entrenched in Latin America and memory narratives proliferate worldwide. Although Argentina is Garibotto's focus, her theory can be adapted to other contexts in which narratives about recent political conflicts have shifted from alternative versions of history to official, hegemonic accounts—such as in Spanish, Chilean, Uruguayan, Brazilian, South African, and Holocaust testimonies. Garibotto's study of testimonial cinema moves us to pursue a broader ideological analysis of the links between film and historical representation.

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