Search results for ""Author Katz Robert"

Robert Bechtold Heilman was a great literary figure of the twentieth century. This collection of his correspondence includes over 600 exchanges with more than 100 correspondents, among them Saul Bellow, Kenneth Burke, Malcolm Cowley, Richard Eberhart, Charles Johnson, Bernard Malamud, and William Carlos Williams. The letters follow Heilman's career from the time he was a thirty-six-year-old member of Louisiana State University's English Department, through his tenure at the University of Washington from 1948 to 1975, until a few years before his death in 2004. Two of his appointees who spent their entire careers at the University of Washington, Edward Alexander and Richard Dunn, have edited the letters with Paul Jaussen. The rich representation of letters to as well as from Heilman gives the reader access to decades-long conversations between him and Robert Penn Warren, Cleanth Brooks, Joseph Epstein, Theodore Roethke, and many others. They provide a sense of Heilman's character, personality, and achievements in the context of American letters. They also afford an inside history of the changes that took place over sixty years, for better and worse, in American universities, literary criticism, and the politics of literature. In the 1940s, Heilman not only defended the New Criticism against its many enemies, but in his own writing extended its imperial reach to the tragedies of Shakespeare. By the fifties, the focus of his letters shifted to the University of Washington's Department of English, and his flair for efficient, energetic, and imaginative administration resonates through them. The first time University of Washington President Raymond Allen read a letter by Heilman, he scribbled a note to his provost: "I like this man's philosophy very much . . . would he not make an excellent Dean of Arts and Sciences?" Heilman had been at the university less than four months. He soon transformed the department, making Washington a national center for poetry. He exhibited courage and ingenuity in defending academic freedom from yahooism and McCarthyism, nurtured and protected an ailing and unpredictable Roethke (a letter about Roethke is one of the wisest and most eloquent letters ever written by a university administrator), and struggled with demands for the appointment of black faculty as well as with the volatile campus politics of the sixties. Heilman's major correspondents - especially his Washington colleagues Solomon Katz and Andrew Hilen - were learned and articulate masters of the epistolary art. To read his letters and theirs is to understand that Samuel Johnson's famous observation "we shall receive no letters in the grave" was not a sigh of expected relief from nuisance and obligation but an anticipatory lament over the loss of a supreme pleasure.

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A glimpse inside the darkroom—and into the strategies of renowned photographers This handsome volume offers an innovative perspective on the artistic processes of some of the most influential photographers of the 20th century. For decades before the advent of digital technology, the proof sheet or contact sheet was vital to the practice of photography. Photographers using roll film first saw positive images in the small-scale grid of the contact, which was marked for printing and served as a lasting reference. Because contact sheets typically remained out of view, they offer a privileged window into the working process. Photographers also recognized aesthetic potential in the proof sheet itself and occasionally presented the contact grid as a finished work of art. The lively but largely unexplored territory of the contact sheet is richly represented in the previously unpublished collection assembled by Mark Schwartz and Bettina Katz. As he charts this territory, Peter Galassi offers fresh insights into the work of Diane Arbus, Richard Avedon, Harry Benson, Harry Callahan, Larry Fink, Robert Frank, Emmet Gowin, Philippe Halsman, Arnold Newman, Irving Penn, and others.Distributed for the Cleveland Museum of ArtExhibition Schedule:Cleveland Museum of Art (February 7–April 19, 2020)

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A fascinating biography of the visionary behind the shareholder activist movement "Bob Monks is a truly rare creature, not only a businessman turned political activist, which is rare enough, but an activist in and on behalf of business, which makes him virtually unique." -Nelson W. Aldrich, Jr. author, Old Money: The Making of America's Upper Class. "A Traitor to His Class is a fascinating account of an idealistic visionary in action." -Ben Makihara, Chairman, Mitsubishi Corporation. "A superbly written book that provides a fascinating and candid insight on the brilliant but complex Bob Monks. A must read for any director, corporate shareholder, or employee of a public enterprise." -L. Dennis Kozlowski, Chairman and CEO, Tyco International Ltd. "One of the most interesting players in the development of corporate governance has been (the often controversial) Bob Monks. This well-written and lively biography puts him and his role in perspective-scholars, for information, and CEOs, for survival, ought to read it." -John Biggs, Chairman, President and CEO, TIAA-CREF. "An interesting story of one of the early proponents of changes in corporate governance and a formidable personal opponent in several corporate battles." -Martin Lipton, Esq., Wachtell, Lipton, Rosen & Katz. Ask anyone who knows Robert Monks to describe him, and words such as "visionary," "determined," and "passionate" will surface. He is, in fact, all this and much more. At six-foot-six, he is a formidable presence, but the respect he demands has less to do with his physical stature than with his influential status as a driving force behind the shareholder activist movement - an initiative that began as a self-proclaimed "mission" to improve corporate governance and accountability, and that is now an integral part of contemporary business and investing. Now, the remarkable history of the movement and one of its pioneers is told. Though born into a wealthy and powerful Boston family whose roots were established in New England before the Revolution, Robert Augustus Gardner Monks was never intent on simply leading a life of privileged luxury. Driven by a deep desire to make himself "useful to the world," he took steps to meet this end. He graduated from Harvard University -Phi Beta Kappa, magna cum laude-and Harvard Law School, and subsequently joined Boston's second largest law firm where he became one of its youngest partners ever. Monks then embarked on a new path which led him towards his ultimate goal of far-reaching public service. Vividly tracing his extraordinary journey, A Traitor to His Class follows Monks's experiences as businessman, corporate attorney, venture capitalist, regulator, and finally, shareholder activist. Written with exclusive access to Monks himself, as well as his collection of notes, speeches, and correspondence, it covers his numerous accomplishments -as well as a few defeats. Included are his term as the Department of Labor's pensions administrator; his bid for the Sears board of directors, a run that won him recognition as "the leader of the battle to reform American corporate governance"; and his three attempts at the Senate, all of which were invaluable training for the guerrilla war he would wage on big business. Instrumental to his battle is his brainchild, Institutional Shareholder Services (ISS), which today handles voting for hundreds of corporate and government pension funds and represents a deciding factor in many contentious proxy votes at large companies both here and abroad. A Traitor to His Class intricately details ISS's growing impact, as well as that of the Lens Fund, whose forays into poorly managed corporations have set new precedents for shareholder activism. The biography of a man who dared to demand that Corporate America be answerable to both its owners and society, A Traitor to His Class is an engaging and enthralling look at one of today's hottest, most controversial movements in business.

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Los notables avances científicos del siglo XX llevaron a muchos a sostener la tesis según la cual la ciencia ha terminado. El "fin de la ciencia" -para utilizar una expresión que se ha popularizado- sería consecuencia, justamente, de su éxito: nada verdaderamente importante quedaría por descubrir después de la mecánica cuántica, la relatividad, el big bang o la biología evolutiva. En 'Un universo diferente', el Premio Nobel de Física Robert B. Laughlin sostiene que no sólo no hemos llegado al fin de la ciencia, sino que ni siquiera estamos cerca. La única frontera que hemos alcanzado, dice el autor, es la de cierto tipo de pensamiento reduccionista. Si en lugar de buscar teorías últimas o definitivas observamos el mundo de las propiedades emergentes -es decir, las propiedades que surgen de la organización de grandes cantidades de átomos-, los misterios más indescifrables se vuelven comprensibles. Laughlin da incluso un paso más: en realidad, las leyes fundamentales de la física -las de

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A quién representa la 'Mona Lisa'? Para quién fue pintada? Por qué se tejieron tantas leyendas en torno de la obra? La cuestión acerca de quién es la mujer con la sonrisa más famosa del mundo ha desconcertado a los historiadores y al público durante quinientos años, y sobre ese enigma se han poblado bibliotecas y se han provocado las más disparatadas interpretaciones.En este libro, Roberto Zapperi, uno de los más prestigiosos historiadores del arte, se propone dilucidar el misterio: a través de un relato deslumbrante, que comienza a principios del siglo XVI, narra la historia de la vida en la corte de Urbino y de las aventuras amorosas que allí se vivían; a través de un relato que involucra la vida de un niño nacido, fuera del matrimonio, en la curia papal y las actividades de Leonardo da Vinci en Roma, Zapperi hilvana hechos y recopila datos para contarnos para quién y cómo fue pintada la 'Mona Lisa', cómo Leonardo llevó consigo el cuadro cuando se instaló con un nuevo mecenas en

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"Robert Lamberton's Introduction is an excellent, concise exposition of current scholarly debate: his notes are informative and helpful. . . . Those who want a translation that captures something of the spirit of an ancient Greek poetic voice and its cultural milieu and transmits it in an appealing, lively, and accessible style will now turn to Lombardo." --M. A. Katz, Wesleyan University, in CHOICE

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"Backgrounds and Sources" includes relevant writings by Dostoevsky, among them "Winter Notes on Summer Impressions," the author’s account of a formative trip to the West. New to the Second Edition are excerpts from V. F. Odoevksy’s "Russian Nights" and I. S. Turgenev’s "Hamlet of Shchigrovsk District." In "Responses", Michael Katz links this seminal novel to the theme of the underground man in six famous works, two of them new to the Second Edition: an excerpt from M. E. Saltykov-Shchedrin’s The Swallows, Woody Allen’s Notes from the Overfed, Robert Walser’s The Child, an excerpt from Ralph Ellison’s The Invisible Man, an excerpt from Yevgeny Zamyatin’s We, and an excerpt from Jean-Paul Sartre’s Erostratus. "Criticism" brings together eleven interpretations by both Russian and Western critics from the nineteenth and twentieth centuries, two of them new to the Second Edition. Included are essays by Nikolai K. Mikhailovsky, Vasily Rozanov, Lev Shestov, M. M. Bakhtin, Ralph E. Matlaw, Victor Erlich, Robert Louis Jackson, Gary Saul Morson, Richard H. Weisberg, Joseph Frank, and Tzvetan Todorov. A Chronology and Selected Bibliography are also included.

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If you enjoyed UNORTHODOX, you will be riveted by Rebekah Roberts . . .'A thrilling, utterly absorbing crime novel.' MEGAN ABBOTTJournalist Rebekah Roberts works at New York City's sleaziest tabloid, but dreams of bigger things. When she receives a letter from a convicted murderer claiming his innocence, she sees both a story she can't ignore and, possibly, a chance.Twenty-two years earlier, just after the Crown Heights riots exploded between the black and Jewish neighbourhoods in Brooklyn, DeShawn Perkins was convicted of the brutal murder of his adoptive family. Rebekah's search for the truth is obscured by the decades that have elapsed: almost no one wants to talk about that grim, violent time in New York City?not even Saul Katz, a former NYPD cop and once her inside source. A searing exploration of the tensions between New York's closed communities, Conviction is a novel about the power - and cost - of loyalty and denial.

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This anthology showcases the best Israeli science fiction and fantasy literature published since the 1980s. The stories included come from Hebrew, Russian, and English-language sources, and include well-known authors such as Shimon Adaf, Pesach (Pavel) Amnuel, Gail Hareven, Savyon Liebrecht, Nava Semel and Lavie Tidhar, as well as a hot-list of newly translated Israeli writers. The book features: an historical and contemporary survey of Israeli science fiction and fantasy literature by the editors; a foreword by revered SF/F writer Robert Silverberg,; an afterword by Dr. Aharon Hauptman, the founding editor of Fantasia 2000, Israel’s seminal SF/F magazine; an author biography for each story included in the volume; and illustrations for each story by award winning American-born Israeli srtist, Avi Katz. PRAISE FOR ZION’S FICTION“Zion’s Fiction will supply a distinctive bright line to the spectrum of futuristic fiction, which stands in sore need of broadening, in the cause of promoting cross-cultural understanding as well as showcasing exciting new talent.”– Brian Stableford, author of over 70 novels and renowned SF historian“Zion’s Fiction explores the unlimited dreams of a people who have learned to stand on shifting ground. To face a future filled with danger and hope, forging into territory that can only be surveyed with the lamp of imagination on our brows.”– David Brin, multiple Hugo and Nebula award-author of EARTH and Existence“When my collection Wandering Stars: An Anthology of Jewish Fantasy and Science Fiction was published in 1974,[It] became a classic. And now…we have the first ever anthology in the entire universe of Israeli fantasy and science fiction: Zion’s Fiction…Go forth and read…and may you find Zion’s Fiction unexpected, delightful, and delirious!” –Jack Dann, award winning author and editor of over 75 books including The Memory Cathedral and The Silent“The basic joy in science fiction and fantasy is the chance to look inside minds different from your own. Here’s your chance. Some bright minds in the nation of Israel have been exercising their imaginations, sharing their different dreams and nightmares, and the results are ours to enjoy.” – Larry Niven, a multiple Hugo and Nebula Award-winning author of the Ringworld Series Sheldon Teitelbaum, an award-winning Los Angeles-based Canadian/American/Israeli writer, and former member of the Editorial Board of Fantasia 2000, is a longtime commentator on Jewish and Israeli science fiction and fantasy literature who has published widely in the Los Angeles Times, Cinefantastique, The Jerusalem Report, Foundation: The Review of Science Fiction, and The Encyclopedia of Science FictionEmanuel Lottem, a central figure in Israeli science fiction and fantasy scene and former member of the Editorial Board of Fantasia 2000, is the translator and editor of some of the best SF/F books published in Hebrew, and a moving force in the creation of the Israeli Society for Science Fiction and Fantasy.Avi Katz, an award-winning American-born Israeli illustrator, cartoonist, and painter, is the staff illustrator of Jerusalem Report magazine. He has illustrated over 170 books in Israel and the United States.

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Jewish and Christian scholars consider the Vatican document, "We Remember: A Reflection on the 'Shoah'." Robert Schreiter, Gerard Sloyan, Irving Greenberg, Cardinal Edward Cassidy, Michael Marrus, Steven Katz, John Morley, Judith H. Banki, and Ronald Modras address four major points of controversy, including the legacy of anit-Semitism in the church and the role of Pius XII during the Holocaust. Michael Berenbaum, John Pawlikowski, John Michalczyk, Peter Hass, Peter Hayes, and Donald Dietrich confront three major ethical themes, including what we can learn about today's economic and social structures based on the transformation of German business from reluctant supporters to full participants in Nazism.

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Pop Art Myths revisits Pop from a twenty-first-century perspective, bringing together more than 100 works by artists including Andy Warhol, Roy Lichtenstein, Richard Hamilton, Peter Blake, Robert Rauschenberg, Tom Wesselmann, Alex Katz, Mimmo Rotella, Eduardo Arroyo, Vija Celmins, Öyvind Fahlström and Gerhard Richter. The exhibition and catalogue attempt to survey Pop art through the revelation and deconstruction of the myths the artists constructed around themselves and the movement, about its apparent superficiality, and its implied irony and critique (or lack thereof). Also included are texts by art historians Francisco Calvo Serraller and Thomas Crow.

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At 1:27 on the morning of August 4, 2005, Herbert Manes fatally stabbed Robert Monroe, known as Shorty, in a dispute over five dollars. It was a horrific yet mundane incident for the poor, heavily African American neighborhood of North Philadelphia—one of seven homicides to occur in the city that day and yet not make the major newspapers. For Michael B. Katz, an urban historian and a juror on the murder trial, the story of Manes and Shorty exemplified the marginalization, social isolation, and indifference that plague American cities. Introduced by the gripping narrative of this murder and its circumstances, Why Don't American Cities Burn? charts the emergence of the urban forms that underlie such events. Katz traces the collision of urban transformation with the rightward-moving social politics of late twentieth- and early twenty-first-century America. He shows how the bifurcation of black social structures produced a new African American inequality and traces the shift from images of a pathological black "underclass" to praise of the entrepreneurial poor who take advantage of new technologies of poverty work to find the beginning of the path to the middle class. He explores the reasons American cities since the early 1970s have remained relatively free of collective violence while black men in bleak inner-city neighborhoods have turned their rage inward on one another rather than on the agents and symbols of a culture and political economy that exclude them. The book ends with a meditation on how the political left and right have come to believe that urban transformation is inevitably one of failure and decline abetted by the response of government to deindustrialization, poverty, and race. How, Katz asks, can we construct a new narrative that acknowledges the dark side of urban history even as it demonstrates the capacity of government to address the problems of cities and their residents? How can we create a politics of modest hope?

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Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.

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Examining various cultural products-music, cartoons, travel guides, ideographic treaties, film, and especially the literary arts-the contributors of these thirteen essays invite readers to conceptualize citizenship as a narrative construct, both in Canada and beyond. Focusing on indigenous and diasporic works, along with mass media depictions of Indigenous and diasporic peoples, this collection problematizes the juridical, political, and cultural ideal of universal citizenship. Readers are asked to envision the nation-state as a product of constant tension between coercive practices of exclusion and assimilation. Narratives of Citizenship is a vital contribution to the growing scholarship on narrative, nationalism, and globalization. Contributors: David Chariandy, Lily Cho, Daniel Coleman, Jennifer Bowering Delisle, Aloys N.M. Fleischmann, Sydney Iaukea, Marco Katz, Lindy Ledohowski, Cody McCarroll, Carmen Robertson, Laura Schechter, Paul Ugor, Nancy Van Styvendale, Dorothy Woodman, and Robert Zacharias.

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Named to Kirkus Reviews' Best Books of 2016The Oath tracks the intertwined lives of Dr. Katz and SS Doktor Bloch, who both survive Auschwitz and the war to practice medicine in the United States, never losing the stains upon their souls. Katz, a respected Jewish French surgeon captured by the Nazis, volunteers to serve at Auschwitz, believing he can protect his wife and children from the gas chambers by helping Joseph Mengele and other SS physicians with their human studies. There he meets Tamara Lissner, a Czech teenager who miraculously survives death in the chambers, but when he hides her in his lab, she becomes witness to the medical torture Katz is forced to impose upon fellow Jews as he assists Doktor Bloch in his cold immersion experiments. After the war, Doktor Bloch avoids criminal prosecution through "Operation Paperclip," a clandestine government program that welcomes German scientists to America (including Werner von Braun), ignoring Nazi ties and their participation in the war.Years later, Tamara reenters Dr. Katz's life, helping him deal with the shame and guilt of his actions at Auschwitz. But just when Katz is coming to terms with his past, he receives a call from former Auschwitz inmate Martin Brosky, who has devoted his life to bringing painful retribution to Nazi criminals who have evaded capture. Martin insists that Michel help him kill Bloch, and Michel must now weigh the risks of defying Martin against the sweetness of revenge, knowing well that his own sordid complicity at Auschwitz could be revealed.Show Additional Fields

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This important anthology organises key essays that outline philosophical perspectives on the rapidly growing practice of environmental restoration. While some argue that environmental restoration is a new paradigm for environmentalism, others maintain that it is just more human domination of nature. The ongoing debate will help to shape environmentalism in the 21st century. A concise introduction by William M Throop outlines a range of issues about the values, beliefs, and attitudes that inform our assessment of restoration. Non-technical discussions of restoration projects place the issues in the context of current policy-making. For each issue, pro and con articles are juxtaposed to highlight areas of controversy. Leading environmental philosophers and restorationists, including Robert Elliot, William Jordan, Eric Katz, Steve Packard, and Holmes Rolston, are represented.This is the only anthology that focuses on the philosophical issues underlying restoration ecology. As such it will be of interest to students and professionals in the fields of environmental philosophy, environmental restoration, and conservation biology, as well as educated lay persons with an interest in environmental issues.

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Published on the occasion of Maine's bicentennial, the book considers more than 200 major artworks of American art from the Farnsworth Art Museum's impressive holdings and details how the state has figured prominently in the development of American art. The volume includes artists as diverse as Andrew Wyeth, Marsden Hartley, Georgia O'Keeffe, Francesco Clemente, Robert Rauschenberg, and Alex Katz, among others. Through their work, a fascinating depiction of the state--and indeed of the development of American art--emerges. In addition to the more than 200 artworks, the volume will feature two historic sites: the Farnsworth Homestead (the National Register of Historic Places home of founder Lucy Copeland Farnsworth) and the National Historic Landmark Olson House, inspiration for some 300 works by Andrew Wyeth, including Christina's World. The book also considers the founder Lucy Copeland Farnsworth's distinctive vision to create a museum, library, and historic house, placing her among the few and still under-recognized women who created museums throughout the United States in the early twentieth century.

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'Short of doing it yourself, the best way of escaping into nature is to read a book like A Walk in the Woods.' New York TimesIn the company of his friend Stephen Katz (last seen in the bestselling Neither Here nor There), Bill Bryson set off to hike the Appalachian Trail, the longest continuous footpath in the world. Ahead lay almost 2,200 miles of remote mountain wilderness filled with bears, moose, bobcats, rattlesnakes, poisonous plants, disease-bearing tics, the occasional chuckling murderer and - perhaps most alarming of all - people whose favourite pastime is discussing the relative merits of the external-frame backpack. Facing savage weather, merciless insects, unreliable maps and a fickle companion whose profoundest wish was to go to a motel and watch The X-Files, Bryson gamely struggled through the wilderness to achieve a lifetime's ambition - not to die outdoors.A Walk in the Woods is now a major feature film starring Robert Redford, Emma Thompson and Nick Offerman.

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The Trans-Mississippi Exposition of 1898 celebrated Omaha’s key economic role as a center of industry west of the Mississippi River and its arrival as a progressive metropolis after the Panic of 1893. The exposition also promoted the rise of the United States as an imperial power, at the time on the brink of the Spanish-American War, and the nation’s place in bringing “civilization” to Indigenous populations both overseas and at the conclusion of the recent Plains Indian Wars. The Omaha World’s Fair, however, is one of the least studied American expositions. Wendy Jean Katz brings together leading scholars to better understand the event’s place in the larger history of both Victorian-era America and the American West. The interdisciplinary essays in this volume cover an array of topics, from competing commercial visions of the cities of the Great West; to the role of women in the promotion of City Beautiful ideals of public art and urban planning; and the constructions of Indigenous and national identities through exhibition, display, and popular culture. Leading scholars T. J. Boisseau, Bonnie M. Miller, Sarah J. Moore, Nancy Parezo, Akim Reinhardt, and Robert Rydell, among others, discuss this often-misunderstood world’s fair and its place in the Victorian-era ascension of the United States as a world power.

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The artist’s studio occupies a unique place in the popular imagination. Its environment is both the site of the artist’s creative production, and a deeply private, personal space that nourishes and bears witness to the artist’s working process, in a continuous interplay with its location, layout, interior and ambience. This rare access to the studio by a trusted visitor provides a unique opportunity to experience the lives of artists working in New York, through their methods, materials and influences, contained within the intimate space of the studio, and observed with an acutely sensitive eye. Artist Studios in New York – which Marco Anelli has been exploring since 2011 - leads the viewer into the creative process of internationally famous artists such as Alex Katz, Alfredo Jaar, Cecily Brown, Dan Colen, Elisabeth Peyton, Francesco Clemente, Jack Pierson, Joan Jonas, Joyce Pensato, Jonas Mekas, Jordan Wolfson, Julian Schnabel, Julie Mehretu, Kiki Smith, Lawrence Weiner, Mariko Mori, Marina Abramovic, Matthew Barney, Mickalene Thomas, Nate Lowman, Pat Steir, Rob Wynne, Robert Longo, Stanley Whitney, Tony Oursler, Ugo Rondinone, Urs Fisher, Vik Muniz.

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While rhetoric as a discipline is firmly planted in humanism and anthropology, posthumanism seeks to leave the human behind. This highly original examination of Kenneth Burke’s thought grapples with these ostensibly contradictory concepts as opportunities for invention, revision, and, importantly, transdisciplinary knowledge making.Rather than simply mapping posthumanist rhetorics onto Burke’s scholarship, Kenneth Burke + The Posthuman focuses on the multiplicity of ideas found both in his work and in the idea of posthumanism. Taking varied approaches organized within a framework of boundaries and futures, the contributors show that studying the humanist theories of Burke in this way creates a satisfyingly chaotic web of interconnections. The essays look at how Burke’s writing on the human mind and technology, from his earliest works to his very latest revisions, interrelates with current concepts such as new materiality and coevolution. Throughout, the contributors pay close attention to the fluidity, concerns, and contradictions inherent in language, symbolism, and subjectivity.A unique, illuminating exploration of the contested relationship between bodies and language, this inherently transdisciplinary book will propel important future inquiry by scholars of rhetoric, Burke, and posthumanism.In addition to the editors, the contributors are Casey Boyle, Kristie Fleckenstein, Nathan Gale, Julie Jung, Steven B. Katz, Steven LeMieux, Jodie Nicotra, Jeff Pruchnic, Timothy Richardson, Thomas Rickert, and Robert Wess.

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Liberties, a Journal of Culture and Politics, is essential reading for those engaged in the cultural and political issues of our time. In this issue of Liberties: Michael Ignatieff - The Mind’s Emancipation; Mary Gaitskill - The Trials of the Young; Sergei Lebedev - Putin’s Philosopher: A Memoir; Michael Walzer - Moral Concern; Justin E. H. Smith – The Happiness Industrial Complex; Andrew Scull – The Fashions in Trauma; David A. Bell – The Triumph of Anti-Politics in America; Michael Kimmage – A Defense of Delight in a Dark Time; Robert Alter – Proust and the Mystification of the Jews; Steven B. Smith – What is a Statesman?; Benjamin Moser – Rembrandt’s shadows; Helen Vendler – The Poetry of Charm; Celeste Marcus – Priorism, or the Joshua Katz Affair; Leon Wieseltier – Problems and Struggles; and, new poems by Karen Solie, Adam Zagajewski, and John Hodgen.Published quarterly, Liberties, is a collection of the most significant writers today as well as launching the voices of tomorrow.Liberties features serious, independent, stylish, and controversial essays by significant writers and introduces the next generation of writers and poets to inspire and impact the intellectual and creative lifeblood of today’s culture and politics. Nobel Prize winners, leading op-ed writers, well-known non-fiction writers, rising talents, and poets from around the world are part of the Liberties series.There’s a reason why engaged citizens, cultural warriors, political leaders, opinion makers, and activists from across the cultural and political spectrum read and cherish Liberties.

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Announcing the new Princeton University Art Museum Monograph Series:Princeton University Art Museum Monographs is a new series of in-depth explorations of the museum's rich collections. Beautifully designed and produced, these books by leading and emerging scholars offer new insights and perspectives on a single work or group of works from Princeton's distinguished permanent collection.Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselmann, Robert Indiana, and Alex Katz have all come to define the Pop art movement that emerged in America in the 1960s. This handsomely illustrated book focuses on 40 understudied and rarely seen late paintings, works on paper, and sculptures by these influential artists in the collection of the Princeton University Art Museum.Pop Art offers fresh insights into the ways in which artists radically transformed the mediums of painting and sculpture. For example, Lichtenstein is repositioned as a classical “studio artist”; Wesselmann is shown to be playfully preoccupied with academic genres; and Indiana is interpreted less as a Pop artist than as a folk artist in a mass-cultural context. This important book also features an engaging introduction by Hal Foster that places these new interpretations in the context of the history of Pop art and its critical literature.Distributed for the Princeton University Art MuseumExhibition Schedule:Princeton University Art Museum (March 24 – August 12, 2007)

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This edition is the first of its kind to offer a basic collection of facsimile, English language, historical articles on all aspects of the extermination of the European Jews. A total of 300 articles from 84 journals and collections allows the reader to gain an overview of this field. The edition both provides access to the immense, rich array of scholarly articles published after 1960 on the history of the Holocaust and encourages critical assessment of conflicting interpretations of these horrifying events. The series traces Nazi persecution of Jews before the implementation of the "Final Solution", demonstrates how the Germans coordinated anti-Jewish activities in conquered territories, and sheds light on the victims in concentration camps, ending with the liberation of the concentration camp victims and articles on the trials of war criminals. The publications covered originate from the years 1950 to 1987. Included are authors such as Jakob Katz, Saul Friedländer, Eberhard Jäckel, Bruno Bettelheim and Herbert A. Strauss.

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Fundamental crises exist and are intensifying in economic and political institutions worldwide. These crises are also expressed in the turmoil in the social and cultural spheres and in the personal lives of millions who are jobless, homeless, hungry, and powerless. Humanist sociologists are activists rooted in the reality of history and change and guided by a concern for the "real life" problems of equality, peace, and social justice. They view people as active shapers of social life, capable of creating societies in which everyone's potential can unfold. Alfred McClung Lee, introduces the volume with "Sociology: Humanist and Scientific" and develops the theme that a sociology that is humanist is also scientific. The other nine selections are grouped into four parts: "The Individual and Social Life" ; "Social Institutions: Technology, Science, and Formal Organization" ; "Political Structures: Issues of Justice and Equality" ; and "Methodological Critiques and Counterproposals." David O'Brien and Richard Sterne suggest that the logic of social inquiry should be reversed. Victoria Rader analyzes the way in which the social system has constructed artificial stages in the human life cycle. David Gil argues that the paradigm of human society needs to be replaced by a paradigm embodying egalitarianism, cooperation, and liberty. Sal Restivo and Michael Zenzen call for a wholistic approach in both the physical and social sciences. C. George Benello argues for a higher and more complex form of organization that is liberating, self-governing, voluntaristic, and flexible. James Kelly arrives at an understanding of the meaning of "social justice," as an organizing and revolutionizing principle in social life. Walda Katz Fishman and Robert Newby focus on the current intensification of inequality and right-wing reaction as capitalism sinks deeper into its final crisis. Jerold Starr identifies the dominance of logical positivism in mainstream re

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It has been more than fifty years since John Waters filmed his first short on the roof of his parents’ Baltimore home. Over the following decades, Waters has developed a reputation as an uncompromising cultural force not only in cinema, but also in visual art, writing, and performance. This major retrospective examines the artist’s influential career through more than 160 photographs, sculptures, soundworks, and videos he has made since the early 1990s. These works deploy Waters’s renegade humor to reveal the ways that mass media and celebrity embody cultural attitudes, moral codes, and shared tragedy. Waters has broadened our understanding of American individualism, particularly as it relates to queer identity, racial equality, and freedom of expression. In bringing “bad taste” to the walls of galleries and museums, he tugs at the curtain of exclusivity that can divide art from human experience. Waters freely manipulates an image bank of less-than-sacred, low-brow references—Elizabeth Taylor’s hairstyles, his own self-portraits, and pictures of individuals brought into the limelight through his films, including his counterculture muse Divine—to entice viewers to engage with his astute and provocative observations about society. This richly illustrated book explores themes including the artist’s childhood and identity; Pop culture and the movie business; Waters’s satirical take on the contemporary art world; and the transgressive power of images. The catalogue features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; critic, curator, and artist Robert Storr; as well as an interview with Waters by photographer Wolfgang Tillmans. Published in association with the Baltimore Museum of Art. Exhibition dates: The Baltimore Museum of Art: October 7, 2018–January 6, 2019 Wexner Center for the Arts: February 2–April 28, 2019

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With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts---technical and commercial as well as creative---in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The essays in this collection do not attempt to to define what may well be undefinable---what ‘Jewish music’ is. Rather, they provide an original and much-needed exploration of the activities and creativity of ‘musicians of the Jewish faith’.CONTRIBUTORS: Eliyana R. Adler, Michael Aylward, Sławomir Dobrzański, Paula Eisenstein-Baker, Beth Holmgren, Sylwia Jakubczyk-Ślęczka, Daniel Katz, James Loeffler, Michael Lukin, Filip Mazurczak, Bożena Muszkalska, Julia Riegel, Ronald Robboy, Robert Rothstein, Joel E. Rubin, Adam J. Sacks, Amanda (Miryem-Khaye) Seigel, Eleanor Shapiro, Carla Shapreau, Tamara Sztyma, Bella Szwarcman-Czarnota, Joseph Toltz, Maja Trochimczyk, Magdalena Waligórska, Bret Werb, Akiva Zimmerman

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Volume 26 of The Annals begins with essays that address the challenge of maintaining human connections in a biological century; Philip Katz focuses on the human encounter between therapist and patient whereas Vivian Rakoff emphasizes the continuing identity of the healer throughout history. Papers on adolescent development, which challenge readers to look beyond preconceived ideas, include Robert Galatzer-Levy's examination of adolescence as a social construction expressed in contradictory cultural narratives and Jack Drescher's exploration of the developmental narratives of gay men in order to illuminate the seeming invisibility of gay adolescents.A section dedicated to "Trauma, Violence, and Suicide" explores interventions with special groups of high-risk adolescents, including violent offendors, suicide attempters, and adolescent refugees. A special section on attention deficit/hyperactivity disorder and conduct disorders includes a debate on whether or not conduct disorder is actually a valid diagnosis. The final section of Volume 26 addresses social issues of continuing relevance to adolescent psychiatry: the juvenile death penalty and gays in the military. Reprinted here are the ASAP's position statements on these two issues along with its amici curiae brief in support of the petitioner in the landmark Supreme Court case of Thompson v. Oklahoma.Volume 26 of The Annals tracks the continuing evolution of adolescent psychiatry as it strives to keep pace with therapeutic and social responsibilities which, in the 21st century, have become increasingly intertwined. We have here a typically thoughtful compendium that, in drawing attention to the pressing issues before those who work with adolescents, highlights bith the field's achievements to date and the work that lies before it.

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Reflections on the Pandemic: COVID and Social Crises in the Year Everything Changed is a collection of essays, poems, and artwork that captures the raw energy and emotion of 2020 from the perspective of the Rutgers University community. The project features work from a diverse group of Rutgers scholars, students, staff, and alumni. Reflecting on 2020 from a number of perspectives – mortality, justice, freedom, equality, democracy, family, health, love, hate, economics, history, medicine, science, social justice, the environment, art, food, sanity – the book features contributions by Evie Shockley, Joyce Carol Oates, Naomi Jackson, Ulla Berg, Grace Lynne Haynes, Jordan Casteel, and President Jonathan Holloway, among others. This book, through its rich and imaginative storytelling at the intersection of scholarly expertise and personal narrative, brings readers into the hearts and minds of not just the Rutgers community but the world. Contributors include: Patricia Akhimie, Marc Aronson, Ulla D. Berg, Stephanie Bonne, Stephanie Boyer, Kimberly Camp, Jordan Casteel, Kelly-Jane Cotter, Mark Doty, David Dreyfus, Adrienne E. Eaton, Katherine C. Epstein, Leah Falk, Paul G. Falkowski, Rigoberto González, James Goodman, David Greenberg, Angelique Haugerud, Grace Lynne Haynes, Leslieann Hobayan, Jonathan Holloway, James W. Hughes, Naomi Jackson, Amy Jordan, Vikki Katz, Mackenzie Kean, Robert E. Kopp, Christian Lighty, Stephen Masaryk, Louis P. Masur, Revathi V. Machan, Yalidy Matos, Belinda McKeon, Susan L. Miller, Yehoshua November, Joyce Carol Oates, Mary E. O’Dowd, Katherine Ognyanova, David Orr, Gregory Pardlo, Steve Pikiell, Teresa Politano, en Purkert, Nick Romanenko, Evie Shockley, Caridad Svich, and Didier William​.

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Reflections on the Pandemic: COVID and Social Crises in the Year Everything Changed is a collection of essays, poems, and artwork that captures the raw energy and emotion of 2020 from the perspective of the Rutgers University community. The project features work from a diverse group of Rutgers scholars, students, staff, and alumni. Reflecting on 2020 from a number of perspectives – mortality, justice, freedom, equality, democracy, family, health, love, hate, economics, history, medicine, science, social justice, the environment, art, food, sanity – the book features contributions by Evie Shockley, Joyce Carol Oates, Naomi Jackson, Ulla Berg, Grace Lynne Haynes, Jordan Casteel, and President Jonathan Holloway, among others. This book, through its rich and imaginative storytelling at the intersection of scholarly expertise and personal narrative, brings readers into the hearts and minds of not just the Rutgers community but the world. Contributors include: Patricia Akhimie, Marc Aronson, Ulla D. Berg, Stephanie Bonne, Stephanie Boyer, Kimberly Camp, Jordan Casteel, Kelly-Jane Cotter, Mark Doty, David Dreyfus, Adrienne E. Eaton, Katherine C. Epstein, Leah Falk, Paul G. Falkowski, Rigoberto González, James Goodman, David Greenberg, Angelique Haugerud, Grace Lynne Haynes, Leslieann Hobayan, Jonathan Holloway, James W. Hughes, Naomi Jackson, Amy Jordan, Vikki Katz, Mackenzie Kean, Robert E. Kopp, Christian Lighty, Stephen Masaryk, Louis P. Masur, Revathi V. Machan, Yalidy Matos, Belinda McKeon, Susan L. Miller, Yehoshua November, Joyce Carol Oates, Mary E. O’Dowd, Katherine Ognyanova, David Orr, Gregory Pardlo, Steve Pikiell, Teresa Politano, en Purkert, Nick Romanenko, Evie Shockley, Caridad Svich, and Didier William​.

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In less than a generation, the dominant image of American cities has transformed from one of crisis to revitalization. Poverty, violence, and distressed schools still make headlines, but central cities and older suburbs are attracting new residents and substantial capital investment. In most accounts, native-born empty nesters, their twentysomething children, and other educated professionals are credited as the agents of change. Yet in the past decade, policy makers and scholars across the United States have come to understand that immigrants are driving metropolitan revitalization at least as much and belong at the center of the story. Immigrants have repopulated central city neighborhoods and older suburbs, reopening shuttered storefronts and boosting housing and labor markets, in every region of the United States. Immigration and Metropolitan Revitalization in the United States is the first book to document immigrant-led revitalization, with contributions by leading scholars across the social sciences. Offering radically new perspectives on both immigration and urban revitalization and examining how immigrants have transformed big cities such as New York, Chicago, and Los Angeles, as well as newer destinations such as Nashville and the suburbs of Boston and New Jersey, the volume's contributors challenge traditional notions of revitalization, often looking at working-class communities. They explore the politics of immigration and neighborhood change, demolishing simplistic assumptions that dominate popular debates about immigration. They also show how immigrants have remade cities and regions in Latin America, Africa, and other places from which they come, linking urbanization in the United States and other parts of the world. Contributors: Kenneth Ginsburg, Marilynn S. Johnson, Michael B. Katz, Gary Painter, Robert J. Sampson, Gerardo Francisco Sandoval, A.K. Sandoval-Strausz, Thomas J. Sugrue, Rachel Van Tosh, Jacob L. Vigdor, Domenic Vitiello, Jamie Winders.

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This book presents Latin America's innovation systems in a new theoretical and political light. The focus is upon how innovation processes can become inclusive; a major challenge for the non-egalitarian Latin American countries. The analytical framework combines Amartya Sen's capacity approach with a knowledge economics perspective. One major conclusion is that there is a need for ambitious public policy initiatives aiming explicitly at inclusiveness. The book offers a new perspective on innovation systems and innovation policy and it is of interest for innovation scholars as well as for policy makers responsible for the design of development strategies in emerging economies.'- Bengt-Åke Lundvall, Aalborg University, DenmarkThis unique book brings together new perspectives on inclusive development and the kinds of science, technology and innovation that can foster this form of development. The individual contributions provide distinct yet interrelated reflections on the diverse experiences of Latin American countries. Their common framework is determined by the assumption that economic growth, even if sustained for some time and accompanied by restorative social policies, is not always able to address inequality, a hallmark of inclusive development.Offering insights into the theoretical and empirical aspects of national innovation systems, this will be an extremely valuable resource for all academics and students involved with development and innovation studies.Contributors include: A. Alcázar Quiñones, S. Alzugaray, I. Armas Marrero, R. Arocena, R. Astorga, F. Barletta, M. Bazán, R. Cárdenas, R. Casas, J.E. Cassiolato, C. De Fuentes, G. Dutrénit, G. Figueroa Alfonso, M. Goñi, J. Katz, H. Lastres, M. Lozano-Borda, D. Lucio-Arias, A. Marín, L. Mederos, E. Moreno, J.C. Moreno-Brid, L. Navas-Alemán, J. Niosi, J. Nuñez Jover, J. Orozco, C. Pérez, M. Puchet, S. Robaina, V. Robert, F. Sagasti, M. Salazar, M.C. Soares, D. Suárez, J. Sutz, A. Torres, A.O. Vera-Cruz, G. Yoguel

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This book presents Latin America's innovation systems in a new theoretical and political light. The focus is upon how innovation processes can become inclusive; a major challenge for the non-egalitarian Latin American countries. The analytical framework combines Amartya Sen's capacity approach with a knowledge economics perspective. One major conclusion is that there is a need for ambitious public policy initiatives aiming explicitly at inclusiveness. The book offers a new perspective on innovation systems and innovation policy and it is of interest for innovation scholars as well as for policy makers responsible for the design of development strategies in emerging economies.'- Bengt-Åke Lundvall, Aalborg University, DenmarkThis unique book brings together new perspectives on inclusive development and the kinds of science, technology and innovation that can foster this form of development. The individual contributions provide distinct yet interrelated reflections on the diverse experiences of Latin American countries. Their common framework is determined by the assumption that economic growth, even if sustained for some time and accompanied by restorative social policies, is not always able to address inequality, a hallmark of inclusive development.Offering insights into the theoretical and empirical aspects of national innovation systems, this will be an extremely valuable resource for all academics and students involved with development and innovation studies.Contributors include: A. Alcázar Quiñones, S. Alzugaray, I. Armas Marrero, R. Arocena, R. Astorga, F. Barletta, M. Bazán, R. Cárdenas, R. Casas, J.E. Cassiolato, C. De Fuentes, G. Dutrénit, G. Figueroa Alfonso, M. Goñi, J. Katz, H. Lastres, M. Lozano-Borda, D. Lucio-Arias, A. Marín, L. Mederos, E. Moreno, J.C. Moreno-Brid, L. Navas-Alemán, J. Niosi, J. Nuñez Jover, J. Orozco, C. Pérez, M. Puchet, S. Robaina, V. Robert, F. Sagasti, M. Salazar, M.C. Soares, D. Suárez, J. Sutz, A. Torres, A.O. Vera-Cruz, G. Yoguel

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Issue 31/2 is a special double issue, featuring nationally renowned American writers and nine translation folios with generous selections of work by internationally known writers from Argentina, French-Speaking Belgium, Germany, Greece, Mexico, Poland, the , South Korea, and the Galician Region of Spain. The issue includes: Poetry by Pulitzer Prize winner Yusef Komunyakaa; National Book Award finalist and Los Angeles Times Book Prize winner Carl Phillips; Guggenheim Fellows Terese Svoboda, David Kirby, and Mark Halliday; two-time Lambda Literary Award winner Maureen Seaton; Rockefeller Foundation Fellow Pablo Medina; Lenore Marshall Prize winner Craig Morgan Teicher; Kresge Arts Foundation and Kundiman Fellow Matthew Olzmann; Ohioana Book Award winner Ruth Awad; Kundiman Prize winner Janine Joseph; Alice Fay Di Castagnola Award winner G. C. Waldrep; Lambda Literary Award finalist Randall Mann; as well as Michael Bazzett, Jehanne Dubrow, Sarah Gridley, Joy Katz, Hailey Leithauser, Claire Wahmanholm, and many others. Fiction by Maxim Loskutoff, an NPR Best Book author and New York Times Editor’s Pick; as well as by Cara Blue Adams, Gerri Brightwell, Aidan Forster, Ryan Habermeyer, Nihal Mubarak, and Carolyn Oliver. Nonfiction by PEN Center USA Literary Award and California Book Award winner Victoria Chang, art and literature critic Robert Archambeau (writing on the “spirituality” of Andy Warhol), and relative newcomer Caroline Plasket. Translation Folios with poetry by Filipino poet Mesándel Virtusio Arguelles (translated by Kristine Ong Muslim), Mexican poet Cesar Cañedo (translated by Whitney DeVos), (translated by Jennifer Kronovet), Franco-Belgian poet Guy Goffette (translated by Marilyn Hacker), Greek poet Dimitra Kotoula (translated by Maria Nazos), Polish poet Ewa Lipska (translated by Robin Davidson and Ewa Elżbieta Nowakowska, South Korean poet Moon Bo Young (translated by Hedgie Choi), Galician/Spanish poet Chus Pato (translated by Erín Moure), and Argentinian fiction writer, journalist, and political martyr Rodolfo Walsh (translated by Cindy Schuster). The cover features work by New York-based artist and Gordon Parks Foundation fellow Derrick Adams, whose work has shown nationally and been featured on the television shows Empire and Insecure.

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A lifetime retrospective of the paintings of Janet Alling, this collection includes both watercolors and oils and features her main interest, the process of painting from direct observation of plants in natural light.Alling's paintings are a development and progression of formal visual ideas, color exploration, light, composition, scale, and the phenomena of the natural world. Using close observation and magnified forms, she worked on a large-scale.Her first one-woman show at 55 Mercer in 1972 was enthusiastically reviewed by Peter Schjeldahl, in the Sunday New York Times, Roberta Smith in Art News, and others who identified Alling as a painter to watch among the generation of realist painters working in large scale perception of reality: Alex Katz, Philip Pearlstein and Jane Freilicher.

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The Other Classical Musics offers challenging new perspectives on classical music by presenting the history of fifteen parallel traditions. Winner of the Royal Philharmonic Society Music Award for Creative Communication 2015 There is a treasure trove of underappreciated music out there; this book will convince many to explore it. The Economist What is classical music? This book answers the question in a manner never before attempted, by presenting the history of fifteen parallel traditions, of which Western classical music is just one. Each music is analysed in terms of its modes, scales, and theory; its instruments, forms, and aesthetic goals; its historical development, golden age, and condition today; and the conventions governing its performance. The writers are leading ethnomusicologists, and their approach is based on the belief that music is best understood in the context of the culture which gave rise to it. By including Mande and Uzbek-Tajik music - plus North American jazz - in addition to the better-known styles of the Middle East, the Indian sub-continent, the Far East, and South-East Asia, this book offers challenging new perspectives on the word 'classical'. It shows the extent to which most classical traditions are underpinned by improvisation, and reveals the cognate origins of seemingly unrelated musics; it reflects the multifarious ways in which colonialism, migration, and new technology have affected musical development, and continue to do today. With specialist language kept to a minimum, it's designed to help both students and general readers to appreciate musical traditions which may be unfamiliar to them, and to encounter the reality which lies behind that lazy adjective 'exotic'. MICHAEL CHURCH has spent much of his career in newspapers as a literary and arts editor; since 2010 he has been the music and opera critic of The Independent. From 1992 to 2005 he reported on traditional musics all over the world for the BBC World Service; in 2004, Topic Records released a CD of his Kazakh field recordings and, in 2007, two further CDs of his recordings in Georgia and Chechnya. Contributors: Michael Church, Scott DeVeaux, Ivan Hewett, David W. Hughes, Jonathan Katz, Roderic Knight, Frank Kouwenhoven, Robert Labaree, Scott Marcus, Terry E. Miller, Dwight F. Reynolds, Neil Sorrell, Will Sumits, Richard Widdess, Ameneh Youssefzadeh

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Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happened and the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American Short Fiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, Best Literary Translations, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. According to Clifford Garstang’s US literary journal rankings, Copper Nickel is ranked number 10 for poetry and number 34 for fiction, out of more than 700 regularly publishing literary journals. Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Accelerate 360.Issue 37 Includes: • Poetry Translation Folios with work by Ukrainian poet Alex Averbuch, translated by Oksana Maksymchuk and Max Rosochinsky; Russian poet Anzhelina Polonskaya, translated by Andrew Wachtel; and Italian fiction writer Elena Varvello, translated by Jennifer Panek. • A feature of poems by three South American poets—Claudia Magliano from Uruguay, Eliana Hernández Pachón from Colombia, and Úrsula Starke from Chile—edited by Jesse Lee Kercheval and featuring a Q&A with both the poets and the translators. • New Poetry by International Latino Book Award–winner William Archila; NEA Fellows Michael Bazzett and Amy Beeder; Lambda Literary Award–winner Benjamin S. Grossberg; Kate Tufts Discovery Award–finalist Julie Hanson; Grolier Prize–winner John Hodgen; four-time Pushcart Prize–winner Mark Irwin; Jake Adam York Prize–winners Yalie Saweda Kamara and Christopher Brean Murray; Audre Lorde Award–winners Meg Day and Maureen Seaton; relative newcomers Mansi Dahal, Christine Kwon, Weijia Pan, Patrick Wilcox, Alison Zheng; and many others. • New Fiction by Stephanie Carpenter, Becky Hagenston, Jacqueline Kolosov, and Luke Rolfes/ • New Essays by TS Eliot Award–winner and National Book Critics Circle Finalist Sinéad Morrissey and Anne P. Beatty. • Cover Art by New York–based Native-American “photo-weaving” artist, Sarah Sense.Contributor LocationsContributors to issue 37 come from all over the country and the world.U.S. cities/regions where contributors are concentrated include:Denver, CO (home of Copper Nickel and the Copper Nickel staff; contributors Andrew Hemmert andMaureen Seaton)Los Angeles, CA (contributors William Archila, Mark Irwin, and Michael Mark; contributing editorsVictoria Chang, Piotr Florczyk, Amaud Jamaul Johnson, and Chris Santiago)Minneapolis/St. Paul, MN (home of Milkweed Editions; contributors Mair Allen and MichaelBazzett; contributing editor V. V. Ganeshananthan)Houston, TX (contributors Ayokunle Falomo, Christopher Brean Murray, and Weijia Pan;contributing editor Kevin Prufer)New York, NY (contributors Mansi Dahal, Eliana Herández Pachón, and Tyler Mills)Chicago, IL (contributors Oksana Maksymchuk and Michael Robins; contributing editor RobertArchambeau)San Francisco Bay Area, CA (contributor Alison Zheng; contributing editor Randall Mann)Kansas City, MO (contributor Patrick Wilcox; contributing editor Robert Long Foreman)Greensboro, NC (contributor Anne P. Beatty; contributing editor Emilia Phillips)Dallas, TX (contributor Mag Gabbert; contributing editor Tarfia Faizullah)Boston/Cambridge, MA (contributing editors Martha Collins and Frederick Reiken)Pittsburgh, PA (contributing editors Joy Katz and Kevin Haworth)Maryville, MO (contributors John Gallaher and Luke Rolphes)US Cities/Regions with single contributors:West Hartford, CT (contributor Benjamin S. Grossberg)Cedar Rapids, IA (contributor Julie Hanson)Dubuque, IA (contributor Jeannine Marie Pitas)New Orleans, LA (contributor Christine Kwon)Worcester, MA (contributor John Hodgen)Frederick, MD (contributor Elizabeth Knapp)Hannock, MI (contributor Stephanie Carpenter)Grand Rapids, MI (contributor L. S. Klatt)Starkville, MS (contributor Becky Hagenston)Raleigh, NC (contributor Meg Day)Omaha, NE (contributor Trey Moody)Albuquerque, NM (contributor Amy Beeder)Cincinnati, OH (contributor Yalie Saweda Kamara)Easton, PA (contributor Owen McLeod)Lubbock, TX (contributor Jacqueline Kolosov)Lexington, VA (contributor Seth Michelson)Bellingham, WA (contributor Jeffrey Morgan)Ellensburg, WA (contributor Maya Jewell Zeller)Eau Claire, WI (contributor Dorothy Chan)Madison, WI (contributor Jesse Lee Kercheval)Ottawa, Ontario (contributor Jennifer Panek)Philadelphia, PA (contributing editor Adrienne Perry)Washington, DC (contributing editor David Keplinger)Boca Raton, FL (contributing editor A. Papatya Bucak)Boise, ID (contributing editor Emily Ruskovich)Lexington, KY (contributing editor Ada Limón)Princeton, NJ (contributing editor James Richardson)Canton, NY (contributing editor Pedro Ponce)Saint Louis, MO (contributing editor Niki Herd)Missoula, MT (contributing editor Sean Hill)Tulsa, OK (contributing editor Kaveh Bassiri)Blacksburg, VA (contributing editor Janine Joseph) International contributors live in:Montevideo, UruguayNewcastle-upon-Tyne, UKMexico City, MXSan Bernardo, ChileTurin, ItalyBishkek, Kyrgyzstan

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Elizabeth Osborne (born 1936) is a painter who responds with awe and religiosity to the grandeur, the frightening power, and the rich fluid diversity of nature. Early she painted the same landscapes -- particularly in Maine and New Mexico -- that have attracted many generations of American artists such as Frederic Church and Thomas Moran in the nineteenth century as well as Robert Henri, John Marin, Georgia O'Keeffe, Marsden Hartley, Alex Katz and others in the twentieth. Osborne's translations of nature through the methods of soaked-in, saturated pigment, ecstatic and hallucinatory chroma, and evocative brush gestures conjure the touch, taste, and scent of the landscape. This subjective, experiential exploration reveals her place in the lineage of American landscape painting as well as her compelling role in the history of postwar abstraction. Osborne made her mark with monumental, hallucinatory landscapes of the early and mid-1970s and with virtuoso, glowing realist watercolors of the late 1970s but her recent work has included boldly-painted ruminations of nature in its micro- and macrocosm. Osborne's oeuvre is full of surprises, stylistically experimental yet cohesive, hauntingly introspective and complex in its artistic and personal associations. The Color of Light brings together paintings from all periods in her career, from a provocative series of 1960s interiors, to those innovative land- and sea-scapes of the 1970s, ambitious large still-lifes of the late 1970s and early 1980s and increasingly abstract work of the past two decades. Richly illustrated, this monograph features eighty-two full-color plates, comparative material illuminating the artist's processes, and a comprehensive chronology with numerous documentary photographs. Long recognized by critics and her peers as one of the most innovative and daring Philadelphia-based artists of the last forty years, Osborne has tirelessly explored the psychologically-charged space between abstraction and realism. Osborne studied at the Pennsylvania Academy of the Fine Arts (PAFA) in the mid-1950s and has been a faculty member there since 1963. A prolific artist and frequent exhibitor in New York, Philadelphia, Washington D.C. and throughout the United States, Osborne has produced a multivalent and challenging body of work that has shifted tone and content gradually since the 1960s. Although she is well-known, there has never been a full survey of her work. This book, published on the occasion of her first painting retrospective reveals the range, depth, and importance of Osborne's art.

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A Forest on Many Stems: Essays on the Poet’s Novel provides a unique entrance to the rare prose of many remarkable modern and contemporary poets including Etel Adnan, Renee Gladman, Langston Hughes, Kevin Killian, Alice Notley, Fernando Pessoa, Rainer Maria Rilke, Leslie Scalapino, Jack Spicer, and Jean Toomer, whose approaches to the novel defy conventions of plot, character, setting, and action. Contributors: Brian Blanchfield, Anne Boyer, John Keene, Mónica de la Torre, Cedar Sigo, and C. D. Wright bring a variety of insights, approaches, and writing styles to the subject with creative and often surprising results. Kazim Ali on Fanny Howe Dan Beachy-Quick on W.G. Sebald Edmund Berrigan on Ted Berrigan Brian Blanchfield on Aaron Kunin Rachel Blau DuPlessis on Gertrude Stein Julia Bloch on Gwendolyn Brooks Anne Boyer on Elizabeth Barrett Browning Traci Brimhall on Hilda Hilst Vincent Broqua on Stacy Doris Brandon Brown on Kevin Killian Lee Ann Brown on Carla Harryman Angela Carr on Nicole Brossard Julie Carr on Lyn Hejinian Norma Cole on Emmanuel Hocquard Brent Cunningham on Laura Moriarty Mónica de la Torre on Martín Adán Marcella Durand on Robert Creeley Patrick Durgin on Tan Lin & Pamela Lu Norman Fischer on Phillip Whalen C.S. Giscombe on Audre Lorde Judith Goldman on Leslie Scalapino Carla Harryman on Gail Scott Jeanne Heuving on Theresa Hak Kyung Cha Laura Hinton on Alice Notley Daniel Katz on Jack Spicer John Keene on Fernando Pessoa Karla Kelsey on Barbara Guest Aaron Kunin on Lewis Carroll Sonnet L’Abbé on M. NourbeSe Philip Abigail Lang on Jacques Roubaud Kimberly Lyons on Mina Loy W. Jason Miller on Langston Hughes Mette Moestrup on Ingeborg Bachmann Laura Moriarty on Keith Waldrop Laura Mullen on Bhanu Kapil Denise Newman on Inger Christensen Aldon Lynn Nielsen on Amiri Baraka Geoffrey G. O’Brien on John Ashbery & James Schuyler Jena Osman on Thalia Field Julie Patton on Jean Toomer Elizabeth Robinson on Rosmarie Waldrop Jennifer Scappettone on H.D. Susan Scarlata on Forrest Gander Brandon Shimoda on Etel Adnan Cedar Sigo on Eileen Myles Sasha Steensen on Anne Carson Donna Stonecipher on Peter Waterhouse Brian Teare on Rainer Maria Rilke Tyrone Williams on Nathaniel Mackey C.D. Wright on Michael Ondaatje Lynn Xu on Ben Lerner Rachel Zolf on Juliana Spahr

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This slipcased boxed set contains the two volumes: Art AIDS America, published in 2015 to coincide with the original exhibit at the Tacoma Art Museum, and the new book Art AIDS America Chicago. Art AIDS America included work by Keith Haring, David Wojnarowicz, Peter Hujar, Robert Mapplethorpe, among many others. Taken together, these two volumes are a stunning overview of the artistic response over the last thirty years to the AIDS epidemic in America, with voices from every community impacted by the crisis.

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Originally published in 1986, The Transformation of American Industrial Relations became an immediate classic, creating a new conceptual framework for understanding contemporary insutrial relations in the United States. In their introduction to the new edition, the authors assess the evolution of industrial relations and human resource practives, focusing particularly on the policy impoications of recent changes. They discuss the diverse forms of work restructuring in the American economy, the reasons why the diffusion of participatory work reorganization has been so modest, work practices among sophisticated nonunion employers, union membership declines, and public policy debates.

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Experience the mosaic of mid-century Manhattan in this exuberant oral history that begins in the post–World War II years when the city came into its own, and ends in the mid-1970s when it nearly went bust. This is the story of a time when great ocean liners were docked in the Hudson River ports, Checker cabs hurtled across a two-way Fifth Avenue, and the Third Avenue el cast long shadows onto the street below. There are recollections of Friday night boxing matches at the old Madison Square Garden, of peddling tunes in the heart of Tin Pan Alley at the Brill Building, of a Harlem that had a nightclub on every corner, and a SoHo that was saved from a wrecker’s ball by a “bunch of mothers.” Eleven daily newspapers covered the city beat back then, Automats and five-and-dimes were in each neighborhood, and the New York Philharmonic performed free summer concerts at Lewisohn Stadium on the City College campus. Zabar’s was a small dairy store; Balducci’s was an open-air fruit and vegetable stand. New York was becoming the center of haute cuisine and haute couture; the New York School of abstract expressionists had taken the lead from Paris in avant-garde art. This transformative time when New York City became the capital of the world is captured here in myriad memories that create an often humorous, sometimes poignant, occasionally bitter—but always loving—testament to the magical mystique of Manhattan. Includes interviews with Jimmy Breslin, Bill Gallo, Monte Irvin, Robert Merrill, Herman Badillo, Elaine Kaufman, Jerry Della Femina, Pauline Trigère, Sirio Maccioni, Jane Jacobs, Saul Zabar, Margaret Whiting, and many more.

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A timely and expansive survey of a groundbreaking American art movement that overturned aesthetic hierarchies in a riot of color and ornamentation The Pattern and Decoration movement emerged in the 1970s as an embrace of long-dismissed art forms associated with the decorative. Pioneering artists such as Miriam Schapiro (1923–2015), Joyce Kozloff (b. 1942), Robert Kushner (b. 1949), and others appropriated patterns, frequently from non-Western decorative arts, to produce intricate, often dizzying or gaudy designs in media ranging from painting, sculpture, and collage to ceramics, installation art, and performance. This dazzling book showcases an astonishing array of works by more than 40 artists from across the United States, examining the movement’s defiant adoption of art forms traditionally viewed as feminine, craft-based, or otherwise inferior to fine art. In addition to offering an overview of the Pattern and Decoration movement as it is commonly recognized, this volume considers artists of the period who are not typically associated with the movement. Rethinking the significance of patterns and the decorative in postwar American art, this panoramic view provides new insights into abstraction, feminism, and installation art. Essays explore the movement’s feminist methods and values, including Miriam Schapiro’s “femmage” practice; its impact on contemporary abstract painting; and its relationship to postmodern architecture and design. Artist biographies, an exhibition history, and reprints of historically significant writings further establish With Pleasure as the most expansive publication on the subject.Published in association with The Museum of Contemporary Art, Los AngelesExhibition Schedule:Museum of Contemporary Art, Los Angeles (October 27, 2019–May 11, 2020)Hessel Museum of Art, Bard College (June 26–November 28, 2021)

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A landmark examination of iconic and provocative portraits by Warhol and Mapplethorpe, presented side by side and in depth for the first time Andy Warhol (1928–1987) and Robert Mapplethorpe (1946–1989) are well known for significant work in portraiture and self-portraiture that challenged gender roles and notions of femininity, masculinity, and androgyny. This exciting and original book is the first to consider the two artists together, examining the powerful portraits they created during the vibrant and tumultuous era bookended by the Stonewall riots and the AIDS crisis. Several important bodies of work are featured, including Warhol’s Ladies and Gentlemen series of drag queen portraits and his collaboration with Christopher Makos on Altered Image, in which Warhol was photographed in makeup and wigs, and Mapplethorpe’s photographs of Patti Smith and of female body builder Lisa Lyon. These are explored alongside numerous other paintings, photographs, and films that demonstrate the artists’ engagement with gender, identity, beauty, performance, and sexuality, including their own self-portraits and portraits of one another. Essays trace the convergences and divergences of Warhol and Mapplethorpe’s work, and examine the historical context of the artists’ projects as well as their lasting impact on contemporary art and queer culture. Firsthand accounts by the artists’ collaborators and subjects reveal details into the making and exhibition of some of the works presented here. With an illustrated timeline highlighting key moments in the artists’ careers, and more than 90 color plates of their arresting pictures, this book provides a fascinating study of two of the most compelling figures in 20th-century art.Published in association with the Wadsworth Atheneum Museum of ArtExhibition Schedule:Wadsworth Atheneum Museum of Art (10/17/15–1/24/16)

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This is the first volume in a series which explores current research, and theoretical and methodological efforts in the field of entrepreneurship, and its related disciplines of small business, family business, and population ecology. The book considers various demographic issues.

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