Search results for ""university of texas press""

Five deadly epidemics, chiefly typhus and smallpox, struck Mexico City in the years between 1761 and 1813, claiming a minimum of fifty thousand lives. Mexico City was at that time the major metropolis of the New World and the capital of New Spain—by far the richest and most sophisticated city in that vast empire. It had the best medicines, the best doctors, and the best hospitals of the New World. What caused these devastating epidemics? Donald B. Cooper here makes a thorough study of the problem. Based almost entirely on unpublished manuscript materials from the national archives of Mexico and the municipal archives of Mexico City, his work represents the first detailed study of the impact of epidemic disease on the history of New Spain, primarily of its capital. The course of each epidemic, its inclusive dates, the mortality it caused, and its effect upon the community are fully described. At the time a major epidemic was in progress, the author says, all levels of government, national and local, secular and ecclesiastical, became involved in varying degrees in providing resources and leadership. The Church, wealthy corporations, and private citizens contributed the main funds. During the actual time of crisis, an outbreak could be prosecuted with remarkable success and cooperation. Once an epidemic was over, however, little was done to prevent another. No single person or agency in Mexico City was sufficiently cognizant of the diverse problems involved to cope with them within a national or regional range—not even the viceroy. Such vital public works as aqueducts, waterlines, roads, and canals were inadequately maintained. Such essential municipal services as cleaning streets and canals, collecting garbage and refuse, and caring for the muddy, shallow cemeteries were poor if not nonexistent. Government officials, as well as the populace, were insufficiently concerned with the relation between sanitation and disease. The practice of medicine in eighteenth-century Mexico had few scientific or professional aspects. The close relation of medicine and theology tended to inhibit experimentation that might have effectively broadened the frontiers of medical knowledge. Traditionalism acted as a barrier to the adoption of innovations. In the epidemic of 1779, for instance, inoculation—which could have saved innumerable lives—was totally rejected; in the outbreak of 1797 it was accepted only by the small upper class; when vaccination came to Mexico in 1803 it met the same militant opposition. The wonder, then, is not that so many died of disease, but that so many lived.

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Winner, Betty and Alfred McClung Lee Book Award, Association for Humanist Sociology, 2016 Outstanding Scholarly Contribution Award of the Section on Children and Youth, American Sociological Association, 2016 Honorable Mention, Leo Goodman Award, Methodology Section, American Sociological Association, 2016When children experience upheaval and trauma, adults often view them as either vulnerable and helpless or as resilient and able to easily “bounce back.” But the reality is far more complex for the children and youth whose lives are suddenly upended by disaster. How are children actually affected by catastrophic events and how do they cope with the damage and disruption?Children of Katrina offers one of the only long-term, multiyear studies of young people following disaster. Sociologists Alice Fothergill and Lori Peek spent seven years after Hurricane Katrina interviewing and observing several hundred children and their family members, friends, neighbors, teachers, and other caregivers. In this book, they focus intimately on seven children between the ages of three and eighteen, selected because they exemplify the varied experiences of the larger group. They find that children followed three different post-disaster trajectories—declining, finding equilibrium, and fluctuating—as they tried to regain stability. The children’s moving stories illuminate how a devastating disaster affects individual health and well-being, family situations, housing and neighborhood contexts, schooling, peer relationships, and extracurricular activities. This work also demonstrates how outcomes were often worse for children who were vulnerable and living in crisis before the storm. Fothergill and Peek clarify what kinds of assistance children need during emergency response and recovery periods, as well as the individual, familial, social, and structural factors that aid or hinder children in getting that support.

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From the 1850s to the 1950s, photography was one of the most open avenues for Jews in Britain to make a living, as well as to contribute to mainstream culture. If one’s picture was snapped for a price in Britain, the person behind the lens was more than likely born a Jew. Through the 1970s, Jews were prime movers behind nearly all things photographic in Britain, including photojournalism, portrait studios, collecting, applications of photography to the fine arts, and the emergence of photography criticism and history as distinct fields. Yet despite Jews having played such remarkable roles, far out of proportion to their number and in all facets of photography, little attention has been paid to ethnic-religious difference in studies of British photography.Richly illustrated with both color and black-and-white images, Jews and Photography in Britain is the first-ever historical investigation of this topic, ranging from the mid-nineteenth century to Queen Elizabeth’s controversial photo shoot with Annie Leibovitz in 2007. Michael Berkowitz explores subjects such as the attempts of H. W. Barnett to unsettle portrait conventions, the spectacular photo editing of Stefan Lorant, the influence of Erich Salomon on Fleet Street, the inception of the “Gernsheim Corpus” (a seminal resource for art historical research) conceived by Walter and Gertrud Gernsheim, the innovative photography practices at London’s Warburg Institute under Fritz Saxl, and the pioneering efforts at collecting and publishing about photography as history and art by Helmut and Alison Gernsheim.

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In the past fifty years, contemporary artistic practice has witnessed a surge in phenomenological types of artistic intent and methodology, represented by divergent impulses sharing a desire to channel ephemeral elements, resist categorization, and defy the rarified museum experience. Time-based work is now widely accepted as primary exhibition matter, and in the past ten years, performance art has risen to the mainstream. Defining “experiential art” as work that is immersive, participatory, performative, and kinetic, Strange Pilgrims is an exhibition and accompanying catalogue organized by The Contemporary Austin, weaving fourteen artists into a loose collection of propositions occupying unconventional spaces and formats. The title comes from Gabriel García Márquez’s collection of twelve short stories of the same name, riffing on the wandering protagonist as a metaphor for an open-ended journey through strange and unfamiliar spaces.Created in tandem with the exhibition on view in fall 2015 and winter 2016 at The Contemporary Austin’s two sites, as well as a third venue, the Visual Arts Center at the University of Texas at Austin, this catalogue presents a parallel but stand-alone assemblage of ideas and concepts that respond to and resonate with one another under the broad umbrella of experience and perception. The book features an essay by the curator Heather Pesanti, a guest essay by the scholar Ann Reynolds, and an interview between author and critic Lawrence Weschler and the philosopher Alva Noë. All fourteen artists are represented through individual sections with color plates and explicatory text. In addition, Artist’s Voice sections have been contributed by Roger Hiorns, Trisha Baga and Jessie Stead, and Lakes Were Rivers.

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Bryan Roberts’ study of two poor neighborhoods of Guatemala City is an important contribution to the understanding of the urban social and power organization of underdeveloped countries. It is the first major study of any Central American urban population. Organizing Strangers gives an account of how poor people cope with an unstable and mobile urban environment, and case material is provided on the emergence of collective action among them. Several themes that are crucial to understanding the significance of urban growth in the underdeveloped world are explored: the impact of city life on rural migrants, the relationship between living in cities and the development of class consciousness, and the changing significance of personal relationships as a means of organizing social and economic life. Guatemala City’s rapid growth and low level of industrialization created a keen competition for jobs and available living space and inhibited the development of cohesive residential groupings. Thus the poor found themselves living and working with people who were mostly strangers. Trust is difficult to create in such an environment, and the absence of trust affected the capacity of the poor to organize themselves. While the poor were integrated into city life, the manner of their integration exposed them to greater exploitation than if they were truly socially isolated or marginal. Bryan Roberts analyzes a variety of formally organized voluntary associations involving the poor and concludes that such associations are essentially means by which middle- and upper-status groups seek to negotiate order among the poor. The problems faced by these poor families are due less to their own incapacities or inactivity than to the effects of economic and political relationships that exploit them locally, nationally, and even internationally. A major conclusion of this study is that the uncertainties in the relationships among poor people and between them and other social groups are the underlying causes of a general political and economic instability.

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In 1971 RAND consultant Daniel J. Ellsberg made national news by handing over to the New York Times a top secret Pentagon study on the Vietnam War. Publication of the Pentagon Papers rocked the American defense establishment and fanned the flames of the growing antiwar protest movement in the United States.By late that year, most of the Pentagon Papers had been released to the public. Four volumes, however, were held back, Ellsberg himself conceding their special sensitivity. These so-called negotiating volumes deal with the diplomacy of the war between 1964 and 1968. Published in book form with extensive commentary, they provide an indispensable source for the study of diplomacy during the Vietnam conflict.These documents cover thirteen major peace contacts and initiatives that took place during the presidency of Lyndon Johnson. They furnish a wealth of new information about the American bombing pauses of May 1965 and January 1966; several third-party peace initiatives; and a still virtually unknown 1965 contact, mysteriously called “xyz,” between North Vietnamese and American diplomats in Paris. They afford the most complete documentation yet available of the Polish-sponsored peace move codenamed “marigold” and the abortive peace initiative launched early in 1967 by British Prime Minister Wilson and Soviet Premier Kosygin.The utility of this important book is greatly enhanced by Herring’s extensive annotation, highly informative introductory essays, and helpful glossaries.

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During the five full years of his presidency (1964–1968), Lyndon Johnson initiated a breathtaking array of domestic policies and programs, including such landmarks as the Civil Rights Act, Head Start, Food Stamps, Medicare and Medicaid, the Immigration Reform Act, the Water Quality Act, the Voting Rights Act, Social Security reform, and Fair Housing. These and other “Great Society” programs reformed the federal government, reshaped intergovernmental relations, extended the federal government’s role into new public policy arenas, and redefined federally protected rights of individuals to engage in the public sphere. Indeed, to a remarkable but largely unnoticed degree,Johnson’s domestic agenda continues to shape and influence current debates on major issues such as immigration, health care, higher education funding, voting rights, and clean water, even though many of his specific policies and programs have been modified or, in some cases, dismantled since his presidency.LBJ’s Neglected Legacy examines the domestic policy achievements of one of America’s most effective, albeit controversial, leaders. Leading contributors from the fields of history, public administration, economics, environmental engineering, sociology, and urban planning examine twelve of LBJ’s key domestic accomplishments in the areas of citizenship and immigration, social and economic policy, science and technology, and public management. Their findings illustrate the enduring legacy of Johnson’s determination and skill in taking advantage of overwhelming political support in the early years of his presidency to push through an extremely ambitious and innovative legislative agenda, and emphasize the extraordinary range and extent of LBJ’s influence on American public policy and administration.

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Frederick Aldama’s The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez’s feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez’s films operate internally (plot, character, and event) and externally (audience perception, thought, and feeling).The volume is divided into three parts: “Matters of Mind and Media” includes essays that use psychoanalytic and cognitive psychology to shed light on how Rodriguez’s films complicate Latino identity, as well as how they succeed in remaking audiences’ preconceptions of the world. “Narrative Theory, Cognitive Science, and Sin City: A Case Study” offers tools and models of analysis for the study of Rodriguez’s film re-creation of a comic book (on which Frank Miller was credited as codirector). “Aesthetic and Ontological Border Crossings and Borderlands” considers how Rodriguez’s films innovatively critique fixed notions of Latino identity and experience, as well as open eyes to racial injustices. As a whole, the volume demonstrates how Rodriguez’s career offers critical insights into the filmmaking industry, the creative process, and the consuming and reception of contemporary film.

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In the 1980s, Egypt witnessed a growing revival of religiosity among large sectors of the population, including artists. Many pious stars retired from art, “repented” from “sinful” activities, and dedicated themselves to worship, preaching, and charity. Their public conversions were influential in spreading piety to the Egyptian upper class during the 1990s, which in turn enabled the development of pious markets for leisure and art, thus facilitating the return of artists as veiled actresses or religiously committed performers.Revisiting the story she began in “A Trade like Any Other”: Female Singers and Dancers in Egypt, Karin van Nieuwkerk draws on extensive fieldwork among performers to offer a unique history of the religious revival in Egypt through the lens of the performing arts. She highlights the narratives of celebrities who retired in the 1980s and early 1990s, including their spiritual journeys and their influence on the “pietization” of their fans, among whom are the wealthy, relatively secular, strata of Egyptian society. Van Nieuwkerk then turns to the emergence of a polemic public sphere in which secularists and Islamists debated Islam, art, and gender in the 1990s. Finally, she analyzes the Islamist project of “art with a mission” and the development of Islamic aesthetics, questioning whether the outcome has been to Islamize popular art or rather to popularize Islam. The result is an intimate thirty-year history of two spheres that have tremendous importance for Egypt—art production and piety.

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All societies around the world and through time value beauty highly. Tracing the evolutions of the Colombian standards of beauty since 1845, Michael Edward Stanfield explores their significance to and symbiotic relationship with violence and inequality in the country. Arguing that beauty holds not only social power but also economic and political power, he positions it as a pacific and inclusive influence in a country “ripped apart by violence, private armies, seizures of land, and abuse of governmental authority, one hoping that female beauty could save it from the ravages of the male beast.” One specific means of obscuring those harsh realities is the beauty pageant, of which Colombia has over 300 per year. Stanfield investigates the ways in which these pageants reveal the effects of European modernity and notions of ethnicity on Colombian women, and how beauty for Colombians has become an external representation of order and morality that can counter the pathological effects of violence, inequality, and exclusion in their country.

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In a film career that spanned five decades, John Wayne became a U.S. icon of heroic individualism and rugged masculinity. His widespread popularity, however, was not limited to the United States: he was beloved among moviegoers in Asia, Africa, Latin America, and Europe. In John Wayne’s World, Russell Meeuf considers the actor’s global popularity and makes the case that Wayne’s depictions of masculinity in his most popular films of the 1950s reflected the turbulent social disruptions of global capitalism and modernization taking place in that decade.John Wayne’s World places Wayne at the center of gender- and nation-based ideologies, opening a dialogue between film history, gender studies, political and economic history, and popular culture. Moving chronologically, Meeuf provides new readings of Fort Apache, Red River, Hondo, The Searchers, Rio Bravo, and The Alamo and connects Wayne’s characters with a modern, transnational masculinity being reimagined after World War II. Considering Wayne’s international productions, such as Legend of the Lost and The Barbarian and the Geisha, Meeuf shows how they resonated with U.S. ideological positions about Africa and Asia. Meeuf concludes that, in his later films, Wayne’s star text shifted to one of grandfatherly nostalgia for the past, as his earlier brand of heroic masculinity became incompatible with the changing world of the 1960s and 1970s. The first academic book-length study of John Wayne in more than twenty years, John Wayne’s World reveals a frequently overlooked history behind one of Hollywood’s most iconic stars.

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For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery inscribed on the body held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.Drawing with Great Needles is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for Dhegiha Sioux and other Native speakers, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.

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From the tombs of the elite to the graves of commoners, mortuary remains offer rich insights into Classic Maya society. In Mortuary Landscapes of the Classic Maya: Rituals of Body and Soul, the anthropological archaeologist and bioarchaeologist Andrew K. Scherer explores the broad range of burial practices among the Maya of the Classic period (AD 250–900), integrating information gleaned from his own fieldwork with insights from the fields of iconography, epigraphy, and ethnography to illuminate this society’s rich funerary traditions.Scherer’s study of burials along the Usumacinta River at the Mexican-Guatemalan border and in the Central Petén region of Guatemala—areas that include Piedras Negras, El Kinel, Tecolote, El Zotz, and Yaxha—reveals commonalities and differences among royal, elite, and commoner mortuary practices. By analyzing skeletons containing dental and cranial modifications, as well as the adornments of interred bodies, Scherer probes Classic Maya conceptions of body, wellness, and the afterlife.Scherer also moves beyond the body to look at the spatial orientation of the burials and their integration into the architecture of Maya communities. Taking a unique interdisciplinary approach, the author examines how Classic Maya deathways can expand our understanding of this society’s beliefs and traditions, making Mortuary Landscapes of the Classic Maya an important step forward in Mesoamerican archeology.

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In her work as poet, essayist, editor, dramatist, and public intellectual, Chicana lesbian writer Cherríe Moraga has been extremely influential in current debates on culture and identity as an ongoing, open-ended process. Analyzing the "in-between" spaces in Moraga's writing where race, gender, class, and sexuality intermingle, this first book-length study of Moraga's work focuses on her writing of the body and related material practices of sex, desire, and pleasure.Yvonne Yarbro-Bejarano divides the book into three sections, which analyze Moraga's writing of the body, her dramaturgy in the context of both dominant and alternative Western theatrical traditions, and her writing of identities and racialized desire. Through close textual readings of Loving in the War Years, Giving Up the Ghost, Shadow of a Man, Heroes and Saints, The Last Generation, and Waiting in the Wings, Yarbro-Bejarano contributes to the development of a language to talk about sexuality as potentially empowering, the place of desire within politics, and the intricate workings of racialized desire.

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Over a mere three decades, the video game became the entertainment medium of choice for millions of people, who now spend more time in the interactive virtual world of games than they do in watching movies or even television. The release of new games or game-playing equipment, such as the PlayStation 2, generates great excitement and even buying frenzies. Yet, until now, this giant on the popular culture landscape has received little in-depth study or analysis. In this book, Mark J. P. Wolf and four other scholars conduct the first thorough investigation of the video game as an artistic medium. The book begins with an attempt to define what is meant by the term "video game" and the variety of modes of production within the medium. It moves on to a brief history of the video game, then applies the tools of film studies to look at the medium in terms of the formal aspects of space, time, narrative, and genre. The book also considers the video game as a cultural entity, object of museum curation, and repository of psychological archetypes. It closes with a list of video game research resources for further study.

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The opalescent deserts of the American Southwest have become romantic icons in the public imagination through the words of writers, the images of artists and photographers, and the visual storytelling of filmmakers. In this spirited, personal, beautifully written book, Peter Wild explores the lives and works of sixteen writers whose words have shaped our visions of the opal desert. Wild begins with Cabeza de Vaca, whose Relación of his desert wanderings sent treasure-hungry Spaniards searching for cities of gold. He goes on to discuss the works of both widely read and lesser-known nineteenth- and twentieth-century authors, including such luminaries as Mary Austin, Joseph Wood Krutch, Edward Abbey, Ann Zwinger, and Charles Bowden. He links all the writers as explorers of one kind or another, searching for tangible or intangible treasures, some finding and some losing their dreams in the opal desert.

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Today in Texas, over 1500 colonias in the counties along the Mexican border are home to some 400,000 people. Often lacking basic services, such as electricity, water and sewerage, fire protection, policing, schools, and health care, these "irregular" subdivisions offer the only low-cost housing available to the mostly Hispanic working poor. This book presents the results of a major study of colonias in three transborder metropolitan areas and uncovers the reasons why colonias are spreading so rapidly. Peter Ward compares Texas colonias with their Mexican counterparts, many of which have developed into fully integrated working-class urban communities. He describes how Mexican governments have worked with colonia residents to make physical improvements and upgrade services-a model that Texas policymakers can learn from, Ward asserts. Finally, he concludes with a hard-hitting checklist of public policy initiatives that need to be considered as colonia housing policy enters its second decade in Texas.

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When Black Texas Women: 150 Years of Trial and Triumph was published in 1995, it was acclaimed as the first comprehensive history of black women's struggles and achievements. This companion volume contains the original source materials that Ruthe Winegarten uncovered during her extensive research.Like a time capsule of black women's history, A Sourcebook includes petitions from free women of color, lawsuits, slave testimonies, wills, plantation journals, club minutes, autobiographies, ads, congressional reports, contracts, prison records, college catalogues, newspaper clippings, protest letters, and much more.In addition to the documents, a biographical section highlights the lives of women from various walks of life. The book concludes with a timeline that begins in 1777 and reaches to 1992. This wealth of original material will be a treasure trove for scholars and general readers interested in the emerging field of black women's history.

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Now available in a durable paperback edition, Shari Benstock's critically acclaimed, best-selling Women of the Left Bank is a fascinating exploration of the lives and works of some two dozen American, English, and French women whose talent shaped the Paris expatriate experience in the century's early years. This ambitious historical, biographical, and critical study has taken its place among the foremost works of literary criticism. Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."

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Mexican communities in the Midwestern United States have a history that extends back to the turn of the twentieth century, when a demand for workers in several mass industries brought Mexican agricultural laborers to jobs and homes in the cities. This book offers a comprehensive social, labor, and cultural history of these workers and their descendants, using the Mexican barrio of "San Pablo" (St. Paul) Minnesota as a window on the region. Through extensive archival research and numerous interviews, Dennis Valdés explores how Mexicans created ethnic spaces in Midwestern cities and how their lives and communities have changed over the course of the twentieth century. He examines the process of community building before World War II, the assimilation of Mexicans into the industrial working class after the war, the Chicano Movement of the 1960s and 1970s, and more recent changes resulting from industrial restructuring and unprecedented migration and population growth. Throughout, Valdés pays particular attention to Midwestern Mexicans' experiences of inequality and struggles against domination and compares them to Mexicans' experiences in other regions of the U.S.

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Expatriation, the sense of being "outside" or exposed, is a central theme in the life and work of Paul Bowles. Beginning with Bowles' account of a frightening childhood memory, A World Outside explores how the dichotomies of inside and outside, safety and danger, enclosure and exposure—fundamental dualities in Bowles' fiction—have their deepest origin in the fabric of Bowles' own life and also mark his kinship with other twentieth-century writers. Like V. S. Naipaul, Paul Bowles is one of those writers who have an uncanny grasp of what it is like never to feel "at home."In this much-needed study, Richard Patteson explores how this sense of "outsidedness" characterizes one's experience in a world in which many of the traditional shelters—social, familial, religious—seem to have lost their ability to protect. He discovers that storytelling is the vehicle by which both Bowles and his characters attempt to domesticate inchoate experience, bringing it into the familiar interior of human comprehension.The music world has for decades recognized Paul Bowles' stature as a composer, but his fiction is only recently receiving the close attention it has long deserved from students of American and contemporary literature. Bowles is an author who neither sought nor received the kind of publicity often lavished on his contemporaries but one whom an ever-growing audience regards as a commanding figure of twentieth-century American literature.

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"It is well known that Southern Texas possesses a greater variety of Mineral Waters than any other country on the globe" enthused a promotion for one of Texas' many watering spas of the nineteenth century. Though most are closed and nearly forgotten today, Texas spas and resorts once drew thousands of visitors from across the country, seeking healing of body and spirit in the rejuvenating mineral waters. This book offers the first comprehensive history of Texas' healing springs. Janet Valenza tracks the rise, popularity, and decline of the "water cure" from the 1830s to the present day. She follows the development of major spas and resorts, such as Mineral Wells and Indian Hot Springs near El Paso, as well as of smaller, family-run springs. She also describes how mineral waters influenced patterns of settlement, transportation routes, commerce, and people's attitudes toward the land. Period photos and quotes from those seeking cures offer vivid glimpses into the daily life at the springs, which Valenza lists and describes county-by-county in the appendix.

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The "first lady of Argentine letters," Victoria Ocampo is best known as the architect of cultural bridges between the American and European continents and as the founder and director of Sur, an influential South American literary review and publishing house. In this first biographical study in English of "la superbe Argentine," originally published in 1979, Doris Meyer considers Victoria Ocampo's role in introducing European and North American writers and artists to the South American public—through the pages of her review, through translations of their work, and through lecture tours and recitations. She examines Ocampo's personal relationships with some of the most illustrious writers and thinkers of this century—including José Ortega y Gasset, Rabindranath Tagore, Count Hermann Keyserling, Virginia Woolf, Adrienne Monnier, Vita Sackville-West, Gabriela Mistral, and many others. And she portrays an extraordinary woman who rebelled against the strictures of family and social class to become a leading personality in the fight for women's rights in Argentina and, later, a steadfast opponent of the Perón regime, for which she was sent to jail in 1953. Fifteen of Victoria Ocampo's essays, selected from her more than ten volumes of prose and translated by Doris Meyer, complement the biographical study.

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This biography of Sam Houston goes beyond the romantic frontier life of the "buckskin hero from Tennessee" to examine seriously his role as an American statesman.

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First published in 1983, Nahuat Myth and Social Structure brings together an important collection of modern-day Aztec Indian folktales and vividly demonstrates how these tales have been shaped by the social structure of the communities in which they are told.

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Perhaps the best way to sharpen one's power's of observation is to be a stranger in a strange land. Julia Meyerson was one such stranger during a year in the village of 'Tambo, Peru, where her husband was conducting anthropological fieldwork. Though sometimes overwhelmed by the differences between Quechua and North American culture, she still sought eagerly to understand the lifeways of 'Tambo and to find her place in the village. Her vivid observations, recorded in this field journal, admirably follow Henry James's advice: "Try to be one of the people upon whom nothing is lost." With an artist's eye, Meyerson records the daily life of 'Tambo—the cycles of planting and harvest, the round of religious and cultural festivals, her tentative beginnings of friendship and understanding with the Tambinos. The journal charts her progress from tolerated outsider to accepted friend as she and her husband learn and earn, the roles of daughter and son in their adopted family. With its wealth of ethnographic detail, especially concerning the lives of Andean women, 'Tambo will have great value for students of Latin American anthropology. In addition, scholars preparing to do fieldwork anywhere will find it a realistic account of both the hardships and the rewards of such study.

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It is for good reason that J. Frank Dobie is known as the Southwest's master storyteller. With his eye for color and detail, his ear for the rhythm of language and song, and his heart open to the simple truth of folk wisdom and ways, he movingly and unpretentiously spins the tales of our collective heritages. This he does in Tales of Old-Time Texas, a heartwarming array of twenty-eight stories filled with vivid characters, exciting historical episodes, and traditional themes. As Dobie himself says: "Any tale belongs to whoever can best tell it." Here, then, is a collection of the best Texas tales—by the Texan who can best tell them.Dobie's recollections include such classics in Lone Star State lore as the tale of Jim Bowie's knife, the legend of the Texas bluebonnet, the story of the Wild Woman of the Navidad, and the account of the headless horseman of the mustangs. Other stories in this outstanding collection regale us with odd and interesting characters and events: the stranger of Sabine Pass, the Apache secret of the Guadalupes, the planter who gambled away his bride, and the Robinhooding of Sam Bass. These stories, and many more, make Tales of Old-Time Texas a beloved classic certain to endure for generations.

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The years 1945-1965 saw heavy partisan conflict in the rural areas of Colombia, with at least 200,000 people killed. This virtual civil war began as a sectarian conflict between the Liberal and Conservative parties, with rural workers (campesinos) constituting the majority of combatants and casualties. Yet La Violencia resists classification as a social uprising, since calls for social reform were largely absent during this phase of the struggle. In fact, once the elite leadership settled on a power-sharing agreement in 1958, the conflict appeared to subside. This book focuses on the second phase (1958-1965) of the struggle, in which the social dimensions of the conflict emerged in a uniquely Colombian form: the campesinos, shaped by the earlier violence, became social and political bandits, no longer acting exclusively for powerful men above them but more in defense of the peasantry. In comparing them with other regional expressions of bandolerismo, the authors weigh the limited prospects for the evolution of Colombian banditry into full-scale social revolution. Published originally in 1983 as Bandoleros, gamonales y campesinos and now updated with a new epilogue, this book makes a timely contribution to the discourse on social banditry and the Colombian violencia. Its importance rests in the insights it provides not only on the period in question but also on Colombia's present situation.

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Raï music is often called the voice of the voiceless in Algeria, a society currently swept by tragic conflict. Raï is the voice of Algerian men, young men caught between generations and classes, in political strife, and in economic inequality. In a ground-breaking study, anthropologist Marc Schade-Poulsen uses this popular music genre as a lens through which he views Algerian society, particularly male society. He situates raï within Algerian family life, moral codes, and broader power relations. Schade-Poulsen did his research in the 1990s, in clubs, recording studios, at weddings, and with street musicians. He describes the history of raï, which emerged in the late 1970s and spread throughout North Africa at the same time the Islamist movement was growing to become the most potent socio-political movement in Algeria. Outsiders consider raï to be Western in origin, but Schade-Poulsen shows its Islamic roots as well. The musicians do use Western instruments, but the music itself mixes Algerian popular songs and rhythms with the beat of American disco, Egyptian modalities, Moroccan wedding tunes, and the songs of Julio Iglesias. The lyrics deal with male-female relationships but also with generational relationships and the problems of youth, as they struggle to find a place in a conflicted society. The study, in its innovative approach to music as a template of society, helps the reader understand the two major movements among today's Algerian youth: one toward the mosque and the other toward the West.

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Women's grassroots activism in Latin America combines a commitment to basic survival for women and their children with a challenge to women's subordination to men. Women activists insist that issues such as rape, battering, and reproductive control cannot be divorced from women's concerns about housing, food, land, and medical care.This innovative, comparative study explores six cases of women's grassroots activism in Mexico, El Salvador, Brazil, and Chile. Lynn Stephen communicates the ideas, experiences, and perceptions of women who participate in collective action, while she explains the structural conditions and ideological discourses that set the context within which women act and interpret their experiences. She includes revealing interviews with activists, detailed histories of organizations and movements, and a theoretical discussion of gender, collective identity, and feminist anthropology and methods.

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In this first major study of French colonial and postcolonial cinema, Dina Sherzer compiles essays by some of the foremost scholars on the subject who interrogate and analyze the realities behind the images of the nation's past and present. Through an examination of France and its colonies, multiethnic contemporary France, and cinematic discourses which have been and are being produced about France's colonial past, these authors explore how the images relay underlying assumptions and their relation to historical and political facts. A variety of subjects and viewpoints inform these studies, which cover the entire range of films on that topic.The authors expound upon the role French and Francophone films are currently playing in reconstructing and imagining France's colonial past. Not only do the essays examine how French cinema has represented the encounter of French citizens with individuals from former colonies during the colonial era; they examine how French cinema has portrayed and has come to terms with the immigration of former colonial subjects to France. In addition, the book features another postcolonial facet by analyzing films of directors from the former colonies who give their own representation of colonialism and presentation of their culture.This study is a major contribution to postcolonial research. Race, gender, and geography are central themes throughout this book that presents innovative material that contributes to the history of French cinema and emphasizes how cinema participates in and is a part of national culture.

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Originally published in 1955, The Silver Cradle is the story of a year in the life of the Mexican American people of San Antonio, Texas. During the 1950s, Julia Nott Waugh recorded the performances of such seasonal and religious traditions as Las Posadas, Los Pastores, Las Calaveras, the Blessing of the Animals, the liturgical observances of Holy Week, and festivities of el diez y seis de septiembre (Mexican Independence Day), among others.Although years have passed and many of the details of observances have changed, the festival calendar and the joy and sincerity of the Mexican American people in honoring its customs and obligations have not disappeared. Now, in fact, a much wider population shares and appreciates the pageantry preserved for us by people like Graciana Reyes, in whose prized silver cradle the Christ Child slept every year at Christmas, and like Doroteo Domínguez, whose annual devotion to presenting a thousand-year-old pastoral epic in his back yard was legendary.Waugh has done much more than just open a window onto a charming past. She has captured for us one of the true gifts of our Mexican American heritage—the willingness to ritually celebrate the passage of time and to embellish the occasions with sensitivity and fervor. This book will appeal to the general reader as well as to those interested in folk traditions and Mexican American culture.

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Iron ore is widely distributed over the world and has been mined from ancient times, but Mexico, with a good supply of ore, was a relative newcomer to the ranks of iron- and steel-producing nations. This distinctive book offers a history of the Mexican iron and steel industry through the 1960s.Archaeological evidence, the author states, shows that the indigenous peoples of Mexico had developed a technology of metallurgy—relying on gold, silver, copper, tin and bronze—before the arrival of the Spaniards, but those same peoples had no knowledge of iron. That knowledge and accompanying technology arrived with the conquistadores.Extremely slow development characterized the progress of iron mining in Mexico and until the twentieth century ore mining and metal forging continued to be handled on a small scale.By the turn of the century two occurrences had combined to give Mexico an embryonic steel market: the railroad grid had come to link Mexico’s diverse regions and Porfirio Díaz had used his personal power to eliminate interstate tariff barriers to trade. In 1900 the first integrated steel mill in Latin America was established in Monterrey—the city that was to become the capital of Mexico’s manufacturing sector.Forty years later, shortages of steel imports provided the motivation for the second stage of growth of the steel industry. Much of the book is devoted to the study of this period of growth.William E. Cole tells the whole story in this scholarly study, which has as its twofold purpose a complete examination of the iron and steel industry of Mexico and an assessment of the impact of that industry on other sectors of the economy. Much space is devoted to an analysis of the role of the Mexican government in promoting and regulating the steel industry and to discussion of the efficiency of the promotional tools employed by the government. Further, he studies the status of the industry in the 1960s, its production and its consumption, and presents a projection for the future.

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Winner, Ray & Pat Browne Award for Best Reference/Primary Source Work in Popular and American Culture, Popular Culture Association/American Culture Association, 2016Known for their violence and prolific profanity, including free use of the n-word, the films of Quentin Tarantino, like the director himself, chronically blurt out in polite company what is extremely problematic even when deliberated in private. Consequently, there is an uncomfortable and often awkward frankness associated with virtually all of Tarantino’s films, particularly when it comes to race and blackness. Yet beyond the debate over whether Tarantino is or is not racist is the fact that his films effectively articulate racial anxieties circulating in American society as they engage longstanding racial discourses and hint at emerging trends. This radical racial politics—always present in Tarantino’s films but kept very much on the quiet—is the subject of Race on the QT.Adilifu Nama concisely deconstructs and reassembles the racial dynamics woven into Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, Kill Bill: Vol. 1, Kill Bill: Vol. 2, Death Proof, Inglourious Basterds, and Django Unchained, as they relate to historical and current racial issues in America. Nama’s eclectic fusion of cultural criticism and film analysis looks beyond the director’s personal racial attitudes and focuses on what Tarantino’s filmic body of work has said and is saying about race in America symbolically, metaphorically, literally, impolitely, cynically, sarcastically, crudely, controversially, and brilliantly.

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For chef Tyson Cole, sushi has always been more than just food; it's an expression of his love and respect for Japanese culture. Having now devoted more than a decade of his life to the skill, art, and discipline of being a sushi chef, Cole's sole purpose is simple: to create the perfect bite.Cole delivers that perfect bite every day at Uchi, his Austin restaurant. Since 2003, Uchi has received national acclaim for stretching beyond the borders of traditional Japanese sushi. "Ingredients and flavors from all over the world are easily accessible now," Cole says. "The cuisine I create is playfully multicultural, mixing the Japanese tradition with tastes that inspire me." Uchi's prominence in the evolution of Japanese cuisine has garnered the restaurant four James Beard Award nominations, as well as a spot for Cole on Food and Wine magazine's list of "Best New Chefs."With their first cookbook, the team at Uchi invites sushi lovers and novices alike to explore their gastronomic boundaries with some of the restaurant's most celebrated recipes: a crisp melon gazpacho adorned with luscious morsels of poached lobster, for instance, or the polenta custard, corn sorbet, and corn milk dessert—a blissful homage to summer corn. Uchi: The Cookbook also presents the story of Tyson Cole, from dishwasher to restaurant owner; an account of the current state of American sushi; and a primer on the ins and outs of this sophisticated, yet artful cuisine.

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Persecuted as evil during colonial times, considered charlatans during the nation-building era, Puerto Rican brujos (witch-healers) today have become spiritual entrepreneurs who advise their clients not only in consultation with the spirits but also in compliance with state laws and new economic opportunities. Combining trance, dance, magic, and healing practices with expertise in the workings of the modern welfare state, they help lawyers win custody suits, sick employees resolve labor disability claims, single mothers apply for government housing, or corporation managers maximize their commercial skills.Drawing on extensive fieldwork among practicing brujos, this book presents a masterful history and ethnography of Puerto Rican brujería (witch-healing). Raquel Romberg explores how brujería emerged from a blending of popular Catholicism, Afro-Latin religions, French Spiritism, and folk Protestantism and also looks at how it has adapted to changes in state policies and responded to global flows of ideas and commodities. She demonstrates that, far from being an exotic or marginal practice in the modern world, brujería has become an invisible yet active partner of consumerism and welfare capitalism.

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In this collection, Esther Raizen explores the significance and value of Hebrew poetry written in response to the wars in which Israel was involved during the last fifty years. The anthology includes the works of many poets, some as well known as Nathan Altherman and Yehudah Amichai and others less known. The poems, presented in both English and Hebrew, depict war as viewed by the soldier, as reflected upon by civilians, and as a force giving rise to the creation of poetry. Raizen explores in an introductory essay the issue of whether poetry written with a defined political message and in the context of certain historical events can function adequately on the aesthetic level. She also tracks the changes in the characteristics of Israeli war poetry from 1948 to 1991, beginning with the glorified patriotism expected in the 1930s-1940s and progressing to the critical ideas in the later years, during which poetry is characterized by understatement and cynicism.

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Was Sanctuary really a “cheap idea,” as Faulkner himself called it, a book “deliberately conceived to make money”? The question has teased the reading public since its publication. Many readers have had their worst suspicions about Faulkner’s work confirmed by his statement, but most serious critics have discounted the disparagement, emphasizing instead Faulkner’s further statement that when the galley proofs arrived from his publisher, “I saw that it was so terrible that there were two things to do: tear it up or rewrite it. I thought again, ‘It might sell; maybe 10,000 of them will buy it.’ So I tore the galleys down and rewrote the book.”Now that two sets of the original galleys are available for inspection, one can see just how Faulkner reworked the novel. In the collation provided here by Gerald Langford, using Faulkner’s own corrected galleys held by the University of Texas at Austin, the reader can reconstruct the first version for himself, noting the cancellations, the additions, and the rewritten passages. As Gerald Langford makes clear in his introductory analysis, neither of Faulkner’s statements is to be trusted. Through revision, Sanctuary became theatrically more effective but thematically less interesting than the original version. Particularly noteworthy is the experimental narrative method of the original version, which foreshadows the method of Absalom, Absalom! as opposed to the straightforward, easily accessible method to which Faulkner turned in the revised Sanctuary and Light in August.

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Case Marking and Grammatical Relations in Polynesian makes an outstanding contribution to both Polynesian and historical linguistics. It is at once a reference work describing Polynesian syntax, an investigation of the role of grammatical relations in syntax, and a discussion of ergativity, case marking, and other areas of syntactic diversity in Polynesian. In its treatment of the history of case marking in Polynesian, it attempts to specify what counts as evidence in syntactic reconstruction and how syntactic reanalysis progresses. It therefore represents a first step toward a general theory of syntactic change. Chung first describes the basic syntax of the Polynesian languages, discussing Maori, Tongan, Samoan, Kapingamarangi, and Pukapukan in depth. She then presents an investigation of the grammatical relations of these languages and their relevance to syntax and shows that the syntax of all these languages—even those with ergative case marking—revolves around the familiar grammatical relations subject and direct object. Finally the book traces the historical development of the different case systems from their origins in Proto-Polynesian.

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The industrialization process in Mexico began before that of any other nation in Latin America except Argentina, with the most rapid expansion of new industrial firms occurring in the 1930s and 1940s, and import substitution in capital goods evident as early as the late 1930s. Though Mexico’s trade relations have always been dependent on the United States, successive Mexican presidents in the postwar period attempted to control the penetration of foreign capital into Mexican markets. In Industry, the State, and Public Policy in Mexico, Dale Story, recognizing the significance of the Mexican industrial sector, analyzes the political and economic role of industrial entrepreneurs in postwar Mexico. He uses two original data sets—industrial production data for 1929–1983 and a survey of the political attitudes of leaders of the two most important industrial organizations in Mexico—to address two major theoretical arguments relating to Latin American development: the meaning of late and dependent development and the nature of the authoritarian state. Story accepts the general relevance of these themes to Mexico but asserts that the country is an important variant of both. With regard to the authoritarian thesis, the Mexican authoritarian state has demonstrated some crucial distinctions, especially between popular and elite sectors. The incorporation of the popular sector groups has closely fit the characteristics of authoritarianism, but the elite sectors have operated fairly independently of state controls, and the government has employed incentives or inducements to try to win their cooperation. In short, industrialists have performed important functions, not only in accumulating capital and organizing economic enterprises but also by bringing together the forces of social change. Industrial entrepreneurs have emerged as a major force influencing the politics of growth, and the public policy arena has become a primary focus of attention for industrialists since the end of World War II.

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Most professors and administrators are aware that academic freedom is in danger of being brushed aside by a public that has little understanding of what is at stake. They may be only marginally aware that the defense of academic freedom is endangered by certain confusions concerning the nature of academic freedom, the criteria for its violation, and the structure of an adequate justification for claims to it. These confusions were enshrined in some of the central documents on the subject, including the 1940 Statement on Academic Freedom and Tenure, agreed upon by the American Association of University Professors and the Association of American Colleges and endorsed by many professional organizations. Careful analysis of them will not do away with debate; it will bring the debate into focus, so that attacks on academic freedom can be appraised as near or far away from the center of the target and can then be appropriately answered. Nearly all the contemporary writing on academic freedom consists of attack or defense. The Concept of Academic Freedom is the first book to deal exclusively with fundamental conceptual issues underlying the battle. In the discussion of these issues, certain philosophical positions crystallize: radical versus liberal conceptions of the status and function of university teachers, specific versus general theories of academic freedom, consequential versus nonconsequential theories of justification. Partisans (and enemies) of academic freedom would do well to decide on which side of these divisions they stand, or how they would mediate between sides. Otherwise many questions will remain unclear: What is under discussion—a special right peculiar to academics or a general right that is especially important to academics? Is justification of that right possible? Can the right be derived from other rights, or from the theory of justice or of democratic society? Or is the argument for academic freedom one that more properly turns on the consequences for society as a whole if that freedom is not protected? The essays in this book explore these and other problems concerning the defense of academic freedom by radicals, the justification for disruption on campus, and the control of research. Contributors to the volume include Hugo Adam Bedau, Bertram H. Davis, Milton Fisk, Graham Hughes, Alan Pasch, Hardy E. Jones, Alexander Ritchie, Amelie Oksenberg Rorty, Rolf Sartorius, T. M. Scanlon, Richard Schmitt, John R. Searle, Judith Jarvis Thomson, and William Van Alstyne. All are outstanding in their fields. Many have had practical experience in the legal profession or with the American Association of University Professors on the issue of academic freedom.

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The Monroe Doctrine, "dollar diplomacy," the policy of the Good Neighbor—these well-known terms indicate the spectrum of the United States's relationships with its neighbors of the Western Hemisphere. Hemisphere thinking in the "Yankee" nation, founded on economic, political, and strategic needs, has come to encompass an appreciation of social and intellectual aspects as a vital part of a unified international unit. In The Western Hemisphere: Its Influence on United States Policies to the End of World War II, Wilfrid Hardy Callcott traces the rise of this awareness of the essential unity of the Western Hemisphere in international affairs. Although Callcott concentrates on the United States, he discusses all hemisphere countries, and his inclusion of Canada adds an additional dimension to previous studies on the subject. From the early days of the Republic to the end of World War I, the relations of the United Stales with its neighbors gradually developed from mere curiosity and from on-the-spot decision-making into policy. During the eighteenth century the persons entrusted with United States foreign policy pressed forward with their own country's westward expansion, while they expressed only an academic interest in the affairs of other Western Hemisphere nations from Canada to Brazil. By the end of the nineteenth century the United States had enthusiastically joined the imperialist nations. Although it soon replaced the use of force with economic controls, its military and economic manipulations naturally generated more fear and antagonism in the neighboring nations than cooperation and sympathy. After World War I, attention to the hemisphere was fostered by the need for strategic raw materials that were to be found from Canada to South America, and by Old World rivalries and needs that endangered New World interests. Canadian and Latin American views of Europe and the League of Nations became much like those of the United States. The new conditions that arose called forth the Good Neighbor policy to combine economic and strategic values in a complex program that included intellectual, social, and cultural elements. World War II accentuated the new consciousness and compelled recognition of the significance of hemisphere relationships in all of the New World nations.

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The Mexican American orquesta is neither a Mexican nor an American music. Relying on both the Mexican orquesta and the American dance band for repertorial and stylistic cues, it forges a synthesis of the two. The ensemble emerges historically as a powerful artistic vehicle for the expression of what Manuel Peña calls the "dialectic of conflict." Grounded in ethnic and class conflict, this dialectic compels the orquesta and its upwardly mobile advocates to waver between acculturation and ethnic resistance. The musical result: a complex mesh of cultural elements—Mexican and American, working- and middle-class, traditional and contemporary. In this book, Manuel Peña traces the evolution of the orquesta in the Southwest from its beginnings in the nineteenth century through its pinnacle in the 1970s and its decline since the 1980s. Drawing on fifteen years of field research, he embeds the development of the orquesta within a historical-materialist matrix to achieve the optimal balance between description and interpretation. Rich in ethnographic detail and boldly analytical, his book is the first in-depth study of this important but neglected field of artistic culture.

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During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices.This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiry—history, authorship, gender, popular cinema, ethnicity, and exile—and explores them through detailed discussions of nearly twenty films and their makers, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.

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Mexico and the United States each have a constitution and a federal system of government. This fact has led many historians to assume that the Mexican system of government, established in the 1820s, is an imitation of the U.S. model. But it is not.First published in Spanish in 1955 and now translated by the author and amplified with new material, this interpretation of the independence movement tells the true story of Mexico's transition from colonial status to federal state. Benson traces the Mexican government's beginning to events in Spain in 1808–1810, when provincial juntas, or deputations, were established to oppose Napoleon's French rule and govern the provinces of Spain and its New World dominions during the Spanish monarch's imprisonment.It was the provincial deputation, not the United States federal system, that provided the model for the state legislative bodies that were eventually formed after Mexico won its independence from Spain in 1821. This finding—the result of years of painstaking archival research—strongly confirms the independence of Mexico's political development from U.S. influence. Its importance to a study of Mexican history cannot be overstated.

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How do we determine authorship in film, and what happens when we look in-depth at the creative activity of living filmmakers rather than approach their work through the abstract prism of auteur theory? Mark Gallagher uses Steven Soderbergh’s career as a lens through which to re-view screen authorship and offer a new model that acknowledges the fundamentally collaborative nature of authorial work and its circulation. Working in film, television, and digital video, Soderbergh is the most prolific and protean filmmaker in contemporary American cinema. At the same time, his activity typifies contemporary screen industry practice, in which production entities, distribution platforms, and creative labor increasingly cross-pollinate.Gallagher investigates Soderbergh’s work on such films as The Limey, Erin Brockovich, Ocean’s Eleven and its sequels, Solaris, The Good German, Che, and The Informant!, as well as on the K Street television series. Dispensing with classical auteurist models, he positions Soderbergh and authorship in terms of collaborative production, location filming activity, dealmaking and distribution, textual representation, genre and adaptation work, critical reception, and other industrial and cultural phenomena. Gallagher also addresses Soderbergh’s role as standard-bearer for U.S. independent cinema following 1989’s sex, lies and videotape, as well as his cinephilic dialogues with different forms of U.S. and international cinema from the 1920s through the 1970s. Including an extensive new interview with the filmmaker, Another Steven Soderbergh Experience demonstrates how industries and institutions cultivate, recognize, and challenge creative screen artists.

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When the Fox Film Corporation merged with Twentieth Century Pictures in 1935, the company posed little threat to industry juggernauts such as Paramount and MGM. In the years that followed however, guided by executives Darryl F. Zanuck and Spyros Skouras, it soon emerged as one of the most important studios. Though working from separate offices in New York and Los Angeles and often of two different minds, the two men navigated Twentieth Century-Fox through the trials of the World War II boom, the birth of television, the Hollywood Blacklist, and more to an era of exceptional success, which included what was then the highest grossing movie of all time, The Sound of Music.Twentieth Century-Fox is a comprehensive examination of the studio’s transformation during the Zanuck-Skouras era. Instead of limiting his scope to the Hollywood production studio, Lev also delves into the corporate strategies, distribution models, government relations, and technological innovations that were the responsibilities of the New York headquarters. Moving chronologically, he examines the corporate history before analyzing individual films produced by Twentieth Century-Fox during that period. Drawn largely from original archival research, Twentieth Century-Fox offers not only enlightening analyses and new insights into the films and the history of the company, but also affords the reader a unique perspective from which to view the evolution of the entire film industry.

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Ever since Sir Arthur Evans first excavated at the site of the Palace at Knossos in the early twentieth century, scholars and visitors have been drawn to the architecture of Bronze Age Crete. Much of the attraction comes from the geographical and historical uniqueness of the island. Equidistant from Europe, the Middle East, and Africa, Minoan Crete is on the shifting conceptual border between East and West, and chronologically suspended between history and prehistory. In this culturally dynamic context, architecture provided more than physical shelter; it embodied meaning. Architecture was a medium through which Minoans constructed their notions of social, ethnic, and historical identity: the buildings tell us about how the Minoans saw themselves, and how they wanted to be seen by others.Architecture of Minoan Crete is the first comprehensive study of the entire range of Minoan architecture—including houses, palaces, tombs, and cities—from 7000 BC to 1100 BC. John C. McEnroe synthesizes the vast literature on Minoan Crete, with particular emphasis on the important discoveries of the past twenty years, to provide an up-to-date account of Minoan architecture. His accessible writing style, skillful architectural drawings of houses and palaces, site maps, and color photographs make this book inviting for general readers and visitors to Crete, as well as scholars.

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