Search results for ""university of texas press""

What do Texans' pastimes and recreations say about their characters? Looking at Texas history from a new angle, David McComb starts from the premise that how people spend their leisure time may well reveal more about their true natures and interests than the work they do or their family connections. In this innovative book, McComb traces the history of various types of recreation in Texas, gathering significant insights into the characters of Texans from the pleasures they have pursued.Reflecting the frontier origins of Texas, McComb starts with the recreations that were most popular with men in a crude, still-developing society—drinking, gambling, and whoring. He goes on to show how, as Texas became more civilized, so did its diversions. He describes how Texans have connected with nature in parks and zoos; watched football and baseball in great stadiums such as the Astrodome and Cotton Bowl; discovered the pleasure of reading in public and university libraries; and enjoyed radio, TV, movies, and live theater in places such as Houston's Alley Theatre.This recreational history reveals that Texans are open-minded and generous; that they respect the land; oppose prostitution but indulge in gambling and drinking; support racial and gender rights; love zoos; champion libraries; take pride in theatrical productions; and adore sports.

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Roman tragedies were written for over three hundred years, but only fragments remain of plays that predate the works of Seneca in the mid-first century C.E., making it difficult to define the role of tragedy in ancient Roman culture. Nevertheless, in this pioneering book, Mario Erasmo draws on all the available evidence to trace the evolution of Roman tragedy from the earliest tragedians to the dramatist Seneca and to explore the role played by Roman culture in shaping the perception of theatricality on and off the stage. Performing a philological analysis of texts informed by semiotic theory and audience reception, Erasmo pursues two main questions in this study: how does Roman tragedy become metatragedy, and how did off-stage theatricality come to compete with the theatre? Working chronologically, he looks at how plays began to incorporate a rhetoricized reality on stage, thus pointing to their own theatricality. And he shows how this theatricality, in turn, came to permeate society, so that real events such as the assassination of Julius Caesar took on theatrical overtones, while Pompey's theatre opening and the lavish spectacles of the emperor Nero deliberately blurred the lines between reality and theatre. Tragedy eventually declined as a force in Roman culture, Erasmo suggests, because off-stage reality became so theatrical that on-stage tragedy could no longer compete.

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A stirring defense of Sinéad O’Connor’s music and activism, and an indictment of the culture that cancelled her. In 1990, Sinéad O’Connor’s video for “Nothing Compares 2 U” turned her into a superstar. Two years later, an appearance on Saturday Night Live turned her into a scandal. For many people—including, for years, the author—what they knew of O’Connor stopped there. Allyson McCabe believes it’s time to reassess our old judgments about Sinéad O’Connor and to expose the machinery that built her up and knocked her down. Addressing triumph and struggle, sound and story, Why Sinéad O’Connor Matters argues that its subject has been repeatedly manipulated and misunderstood by a culture that is often hostile to women who speak their minds (in O’Connor’s case, by shaving her head, championing rappers, and tearing up a picture of the pope on live television). McCabe details O’Connor’s childhood abuse, her initial success, and the backlash against her radical politics without shying away from the difficult issues her career raises. She compares O’Connor to Madonna, another superstar who challenged the Catholic Church, and Prince, who wrote her biggest hit and allegedly assaulted her. A journalist herself, McCabe exposes how the media distorts not only how we see O’Connor but how we see ourselves, and she weighs the risks of telling a story that hits close to home. In an era when popular understanding of mental health has improved and the public eagerly celebrates feminist struggles of the past, it can be easy to forget how O’Connor suffered for being herself. This is the book her admirers and defenders have been waiting for.

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With a range that spans the lyrical, heartfelt songs “Angel from Montgomery,” “Sam Stone,” and “Paradise” to the classic country music parody “You Never Even Called Me by My Name,” John Prine is a songwriter’s songwriter. Across five decades, Prine has created critically acclaimed albums—John Prine (one of Rolling Stone’s 500 Greatest Albums of All Time), Bruised Orange, and The Missing Years—and earned many honors, including two Grammy Awards, a Lifetime Achievement Award for Songwriting from the Americana Music Association, and induction into the Nashville Songwriters Hall of Fame. His songs have been covered by scores of artists, from Johnny Cash and Miranda Lambert to Bette Midler and 10,000 Maniacs, and have influenced everyone from Roger McGuinn to Kacey Musgraves. Hailed in his early years as the “new Dylan,” Prine still counts Bob Dylan among his most enthusiastic fans.In John Prine, Eddie Huffman traces the long arc of Prine’s musical career, beginning with his early, seemingly effortless successes, which led paradoxically not to stardom but to a rich and varied career writing songs that other people have made famous. He recounts the stories, many of them humorous, behind Prine’s best-known songs and discusses all of Prine’s albums as he explores the brilliant records and the ill-advised side trips, the underappreciated gems and the hard-earned comebacks that led Prine to found his own successful record label, Oh Boy Records. This thorough, entertaining treatment gives John Prine his due as one of the most influential songwriters of his generation.

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Presenting a new Teaching Arabic as a Foreign Language (TAFL) curriculum that can be used in secondary and postsecondary educational settings, Kalima wa Nagham (Volume I) is a textbook that uniquely and simultaneously introduces Modern Standard Arabic (MSA) and salient aspects of Educated Spoken Arabic (ESA) to beginning language students. Students who fully utilize this book should be able to develop the different language skills: listening, speaking, reading, writing, and expressing deep cultural knowledge.Written by Arabic language teaching practitioners and experienced educators who are certified language testers, Volume I of Kalima wa Nagham employs a threaded story that introduces language concepts along with music to enhance vocabulary retention and recall. At the core of the textbook are dialogues that present students and teachers with examples of Arabic grammatical concepts and important cultural aspects, as well as related vocabulary. These are supplemented by drills and activities that can be used in a classroom setting or pursued individually. Dialogues, pronunciation and listening drills, and charts to accompany the lessons are available on the UT Press website. This volume is student-centered in content and methodology, which will enable learners to meet and exceed linguistic and cultural proficiency expectations.

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Vocals tinged with pain and desperation. The deep thuds of an upright bass. Women with short bangs and men in cuffed jeans. These elements and others are the unmistakable signatures of rockabilly, a musical genre normally associated with white male musicians of the 1950s. But in Los Angeles today, rockabilly's primary producers and consumers are Latinos and Latinas. Why are these "Razabillies" partaking in a visibly "un-Latino" subculture that's thought of as a white person's fixation everywhere else?As a Los Angeles Rockabilly insider, Nicholas F. Centino is the right person to answer this question. Pairing a decade of participant observation with interviews and historical research, Centino explores the reasons behind a Rockabilly renaissance in 1990s Los Angeles and demonstrates how, as a form of working-class leisure, this scene provides Razabillies with spaces of respite and conviviality within the alienating landscape of the urban metropolis. A nuanced account revealing how and why Los Angeles Latinas/os have turned to and transformed the music and aesthetic style of 1950s rockabilly, Razabilly offers rare insight into this musical subculture, its place in rock and roll history, and its passionate practitioners.

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José Martí (1853–1895) was the founding hero of Cuban independence. In all of modern Latin American history, arguably only the “Great Liberator” Simón Bolívar rivals Martí in stature and legacy. Beyond his accomplishments as a revolutionary and political thinker, Martí was a giant of Latin American letters, whose poetry, essays, and journalism still rank among the most important works of the region. Today he is revered by both the Castro regime and the Cuban exile community, whose shared veneration of the “apostle” of freedom has led to his virtual apotheosis as a national saint.In José Martí: A Revolutionary Life, Alfred J. López presents the definitive biography of the Cuban patriot and martyr. Writing from a nonpartisan perspective and drawing on years of research using original Cuban and U.S. sources, including materials never before used in a Martí biography, López strips away generations of mythmaking and portrays Martí as Cuba’s greatest founding father and one of Latin America’s literary and political giants, without suppressing his public missteps and personal flaws. In a lively account that engrosses like a novel, López traces the full arc of Martí’s eventful life, from his childhood and adolescence in Cuba, to his first exile and subsequent life in Spain, Mexico City, and Guatemala, through his mature revolutionary period in New York City and much-mythologized death in Cuba on the battlefield at Dos Ríos. The first major biography of Martí in over half a century and the first ever in English, José Martí is the most substantial examination of Martí’s life and work ever published.

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Winner, Association for Latin American Art-Arvey Foundation Book Award, 2022More than a thousand years ago on the north coast of Peru, Indigenous Moche artists created a large and significant corpus of sexually explicit ceramic works of art. They depicted a diversity of sex organs and sex acts, and an array of solitary and interconnected human and nonhuman bodies. To the modern eye, these Moche “sex pots,” as Mary Weismantel calls them, are lively and provocative but also enigmatic creations whose import to their original owners seems impossible to grasp.In Playing with Things, Weismantel shows that there is much to be learned from these ancient artifacts, not merely as inert objects from a long-dead past but as vibrant Indigenous things, alive in their own inhuman temporality. From a new materialist perspective, she fills the gaps left by other analyses of the sex pots in pre-Columbian studies, where sexuality remains marginalized, and in sexuality studies, where non-Western art is largely absent. Taking a decolonial approach toward an archaeology of sexuality and breaking with long-dominant iconographic traditions, this book explores how the pots "play jokes," "make babies," "give power," and "hold water,” considering the sex pots as actual ceramic bodies that interact with fleshly bodies, now and in the ancient past. A beautifully written study that will be welcomed by students as well as specialists, Playing with Things is a model for archaeological and art historical engagement with the liberating power of queer theory and Indigenous studies.

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In August 1945, the United States dropped atomic bombs on Hiroshima and Nagasaki, and the immediate aftermath was documented by Japanese photographers. For the most part the images they produced were censored or confiscated, but many were preserved in secret. Some were published widely in Japan during the 1950s, though not in the United States. Later, prints and negatives were gathered by groups such as the Anti-Nuclear Photographers’ Movement of Japan, whose collection is now housed at the Briscoe Center for American History. The center’s Hiroshima and Nagasaki Atomic Bomb Photographs Archive consists of more than eight hundred photographs, over one hundred of which are seen here for the first time in an English-language publication.To mark the seventy-fifth anniversary of the bombings, Flash of Light, Wall of Fire features the work of twenty-three Japanese photographers who risked their lives to capture the devastation. Together these images serve as a visual record of nuclear destruction, the horrific effects of radiation exposure, and the mass suffering that ensued. A preface by Briscoe Center Executive Director Don Carleton, an essay by Michael B. Stoff, and an afterword by Japanese journalist Michiko Tanaka explore how the images were collected and preserved as well as how they helped provoke calls for peace and the abolishment of nuclear weapons.

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An artist in every sense of the word, Lhasa de Sela wowed audiences around the globe with her multilingual songs and spellbinding performances, mixing together everything from Gypsy music to Mexican rancheras, Americana and jazz, chanson française, and South American folk melodies. In Canada, her album La Llorona won the Juno Award and went gold, and its follow-up, The Living Road, won a BBC World Music Award. Tragically, de Sela succumbed to breast cancer in 2010 at the age of thirty-seven after recording her final album, Lhasa.Tracing de Sela’s unconventional life and introducing her to a new generation, Why Lhasa de Sela Matters is the first biography of this sophisticated creative icon. Raised in a hippie family traveling between the United States and Mexico in a converted school bus, de Sela developed an unquenchable curiosity, with equal affinities for the romantic, mystic, and cerebral. Becoming a sensation in Montreal and Europe, the trilingual singer rejected a conventional path to fame, joining her sisters’ circus troupe in France. Revealing the details of these and other experiences that inspired de Sela to write such vibrant, otherworldly music, Why Lhasa de Sela Matters sings with the spirit of this gifted firebrand.

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Winner, Book Prize in Latin American Studies, Colonial Section of Latin American Studies Association (LASA), 2016 ALAA Book Award, Association for Latin American Art/Arvey Foundation, 2016The capital of the Aztec empire, Tenochtitlan, was, in its era, one of the largest cities in the world. Built on an island in the middle of a shallow lake, its population numbered perhaps 150,000, with another 350,000 people in the urban network clustered around the lake shores. In 1521, at the height of Tenochtitlan’s power, which extended over much of Central Mexico, Hernando Cortés and his followers conquered the city. Cortés boasted to King Charles V of Spain that Tenochtitlan was “destroyed and razed to the ground.” But was it?Drawing on period representations of the city in sculptures, texts, and maps, The Death of Aztec Tenochtitlan, the Life of Mexico City builds a convincing case that this global capital remained, through the sixteenth century, very much an Amerindian city. Barbara E. Mundy foregrounds the role the city’s indigenous peoples, the Nahua, played in shaping Mexico City through the construction of permanent architecture and engagement in ceremonial actions. She demonstrates that the Aztec ruling elites, who retained power even after the conquest, were instrumental in building and then rebuilding the city. Mundy shows how the Nahua entered into mutually advantageous alliances with the Franciscans to maintain the city's sacred nodes. She also focuses on the practical and symbolic role of the city’s extraordinary waterworks—the product of a massive ecological manipulation begun in the fifteenth century—to reveal how the Nahua struggled to maintain control of water resources in early Mexico City.

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The neighborhoods of Fifth Ward, Fourth Ward, Third Ward, and the Southside of Houston, Texas, gave birth to Houston rap, a vibrant music scene that has produced globally recognized artists such as Geto Boys, DJ Screw, Pimp C and Bun B of UGK, Fat Pat, Big Moe, Z-Ro, Lil’ Troy, and Paul Wall. Lance Scott Walker and photographer Peter Beste spent a decade documenting Houston’s scene, interviewing and photographing the people—rappers, DJs, producers, promoters, record label owners—and places that give rap music from the Bayou City its distinctive character. Their collaboration produced the books Houston Rap and Houston Rap Tapes.This second edition of Houston Rap Tapes amplifies the city’s hip-hop history through new interviews with Scarface, Slim Thug, Lez Moné, B L A C K I E, Lil’ Keke, and Sire Jukebox of the original Ghetto Boys. Walker groups the interviews into sections that track the different eras and movements in Houston rap, with new photographs and album art that reveal the evolution of the scene from the 1970s to today’s hip-hop generation. The interviews range from the specifics of making music to the passions, regrets, memories, and hopes that give it life. While offering a view from some of Houston’s most marginalized areas, these intimate conversations lay out universal struggles and feelings. As Willie D of Geto Boys writes in the foreword, “Houston Rap Tapes flows more like a bunch of fellows who haven’t seen each other for ages, hanging out on the block reminiscing, rather than a calculated literary guide to Houston’s history.”

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Media platforms continually evolve, but the issues surrounding media representations of gender and sexuality have persisted across decades. Spectator: The University of Southern California Journal of Film and Television Criticism has published groundbreaking articles on gender and sexuality, including some that have become canonical in film studies, since the journal’s founding in 1982. This anthology collects seventeen key articles that will enable readers to revisit foundational concerns about gender in media and discover models of analysis that can be applied to the changing media world today.Spectatorship begins with articles that consider issues of spectatorship in film and television content and audience reception, noting how media studies has expanded as a field and demonstrating how theories of gender and sexuality have adapted to new media platforms. Subsequent articles show how new theories emerged from that initial scholarship, helping to develop the fields of fandom, transmedia, and queer theory. The most recent work in this volume is particularly timely, as the distinctions between media producers and media spectators grow more fluid and as the transformation of media structures and platforms prompts new understandings of gender, sexuality, and identification. Connecting contemporary approaches to media with critical conversations of the past, Spectatorship thus offers important points of historical and critical departure for discussion in both the classroom and the field.

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The product of Jacqueline Barnitz’s more than forty years of studying and teaching, Twentieth-Century Art of Latin America surveys the major currents in and artists of Mexico, the Caribbean, and South America (including Brazil). This new edition has been refreshed throughout to include new scholarship on several modern movements, such as abstraction in the River Plate region and the Cuban avant-garde. A new chapter covers art since 1990. In all, 30 percent of the images in this edition are new, and thirty-four additional artists are discussed and illustrated.

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While there are numerous film studies that focus on one particular grouping of films—by nationality, by era, or by technique—here is the first single volume that incorporates all of the above, offering a broad overview of experimental Latin American film produced over the last twenty years.Analyzing seventeen recent films by eleven different filmmakers from Argentina, Brazil, Cuba, Mexico, Paraguay, and Peru, Cynthia Tompkins uses a comparative approach that finds commonalities among the disparate works in terms of their influences, aesthetics, and techniques. Tompkins introduces each film first in its sociohistorical context before summarizing it and then subverting its canonical interpretation. Pivotal to her close readings of the films and their convergences as a collective cinema is Tompkins’s application of Deleuzian film theory and the concept of the time-image as it pertains to the treatment of time and repetition. Tompkins also explores such topics as the theme of decolonization, the consistent use of montage, paratactically structured narratives, and the fusion of documentary conventions and neorealism with drama. An invaluable contribution to any dialogue on the avant-garde in general and to filmmaking both in and out of Latin America, Experimental Latin American Cinema is also a welcome and insightful addition to Latin American studies as a whole.

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Drawing on anthropologist Ana Mariella Bacigalupo's fifteen years of field research, Shamans of the Foye Tree: Gender, Power, and Healing among Chilean Mapuche is the first study to follow shamans' gender identities and performance in a variety of ritual, social, sexual, and political contexts.To Mapuche shamans, or machi, the foye tree is of special importance, not only for its medicinal qualities but also because of its hermaphroditic flowers, which reflect the gender-shifting components of machi healing practices. Framed by the cultural constructions of gender and identity, Bacigalupo's fascinating findings span the ways in which the Chilean state stigmatizes the machi as witches and sexual deviants; how shamans use paradoxical discourses about gender to legitimatize themselves as healers and, at the same time, as modern men and women; the tree's political use as a symbol of resistance to national ideologies; and other components of these rich traditions.The first comprehensive study on Mapuche shamans' gendered practices, Shamans of the Foye Tree offers new perspectives on this crucial intersection of spiritual, social, and political power.

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Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design. This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.

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Between 2010 and 2025, most of the countries of Latin America will commemorate two centuries of independence, and Latin Americans have much to celebrate at this milestone. Most countries have enjoyed periods of sustained growth, while inequality is showing modest declines and the middle class is expanding. Dictatorships have been left behind, and all major political actors seem to have accepted the democratic process and the rule of law. Latin Americans have entered the digital world, routinely using the Internet and social media.These new realities in Latin America call for a new introduction to its history and culture, which Latin America at 200 amply provides. Taking a reader-friendly approach that focuses on the big picture and uses concrete examples, Phillip Berryman highlights what Latin Americans are doing to overcome extreme poverty and underdevelopment. He starts with issues facing cities, then considers agriculture and farming, business, the environment, inequality and class, race and ethnicity, gender, and religion. His survey of Latin American history leads into current issues in economics, politics and governance, and globalization. Berryman also acknowledges the ongoing challenges facing Latin Americans, especially crime and corruption, and the efforts being made to combat them. Based on decades of experience, research, and travel, as well as recent studies from the World Bank and other agencies, Latin America at 200 will be essential both as a classroom text and as an introduction for general readers.

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Hollywood film directors are some of the world's most powerful storytellers, shaping the fantasies and aspirations of people around the globe. Since the 1960s, African Americans have increasingly joined their ranks, bringing fresh insights to movie characterizations, plots, and themes and depicting areas of African American culture that were previously absent from mainstream films. Today, black directors are making films in all popular genres, while inventing new ones to speak directly from and to the black experience. This book offers a first comprehensive look at the work of black directors in Hollywood, from pioneers such as Gordon Parks, Melvin Van Peebles, and Ossie Davis to current talents including Spike Lee, John Singleton, Kasi Lemmons, and Carl Franklin. Discussing 67 individuals and over 135 films, Melvin Donalson thoroughly explores how black directors' storytelling skills and film techniques have widened both the thematic focus and visual style of American cinema. Assessing the meanings and messages in their films, he convincingly demonstrates that black directors are balancing Hollywood's demand for box office success with artistic achievement and responsibility to ethnic, cultural, and gender issues.

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