Over the last four decades, anthropologists have grappled with the dialectical relationship between the examination of cultures from the emic, or insider, perspective, and the etic, or outsider, perspective. Nowhere is this creative tension more evident than in the anthropological study of religion. In this volume, anthropologists and religious studies scholars come to terms not only with a landscape that has shifted fundamentally, but a landscape that is still shifting.
Essays in this collection raise new and important issues for the anthropological study of religion in new and important ways. In intensely personal essays, a number of contributors address two fundamental concerns in the study of religion: (1) how should anthropologists deal with the beliefs and practices of others?, and (2) how should anthropologists deal with their own religious backgrounds and beliefs as these may affect their understanding of the beliefs and practices of others? A partial resolution to both questions is necessary before the anthropological study of religion can advance to a higher level.
A FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE IN BIOGRAPHY AND SHORTLISTED FOR THE PEN/JACQUELINE BOGRAD WELD AWARD FOR BIOGRAPHY
"Welcome to Rockwell Land," writes Deborah Solomon in the introduction to this spirited and authoritative biography of the painter who provided twentieth-century America with a defining image of itself. As the star illustrator of The Saturday Evening Post for nearly half a century, Norman Rockwell mingled fact and fiction in paintings that reflected the we-the-people, communitarian ideals of American democracy. Freckled Boy Scouts and their mutts, sprightly grandmothers, a young man standing up to speak at a town hall meeting, a little black girl named Ruby Bridges walking into an all-white school—here was an America whose citizens seemed to believe in equality and gladness for all.
Who was this man who served as our unofficial "artist in chief" and bolstered our country's national identity? Behind the folksy, pipe-smoking façade lay a surprisingly complex figure—a lonely painter who suffered from depression and was consumed by a sense of inadequacy. He wound up in treatment with the celebrated psychoanalyst Erik Erikson. In fact, Rockwell moved to Stockbridge, Massachusetts so that he and his wife could be near Austen Riggs, a leading psychiatric hospital. "What's interesting is how Rockwell's personal desire for inclusion and normalcy spoke to the national desire for inclusion and normalcy," writes Solomon. "His work mirrors his own temperament—his sense of humor, his fear of depths—and struck Americans as a truer version of themselves than the sallow, solemn, hard-bitten Puritans they knew from eighteenth-century portraits."
Deborah Solomon, a biographer and art critic, draws on a wealth of unpublished letters and documents to explore the relationship between Rockwell's despairing personality and his genius for reflecting America's brightest hopes. "The thrill of his work," she writes, "is that he was able to use a commercial form [that of magazine illustration] to thrash out his private obsessions." In American Mirror, Solomon trains her perceptive eye not only on Rockwell and his art but on the development of visual journalism as it evolved from illustration in the 1920s to photography in the 1930s to television in the 1950s. She offers vivid cameos of the many famous Americans whom Rockwell counted as friends, including President Dwight Eisenhower, the folk artist Grandma Moses, the rock musician Al Kooper, and the generation of now-forgotten painters who ushered in the Golden Age of illustration, especially J. C. Leyendecker, the reclusive legend who created the Arrow Collar Man.
Although derided by critics in his lifetime as a mere illustrator whose work could not compete with that of the Abstract Expressionists and other modern art movements, Rockwell has since attracted a passionate following in the art world. His faith in the power of storytelling puts his work in sync with the current art scene. American Mirror brilliantly explains why he deserves to be remembered as an American master of the first rank.
This incisive examination of the power of information in society uses a new mathematical model, ideodynamics, to describe social responses to information and suggests that public opinion can be swayed in a predictable fashion by messages acting on the populace. In addition to mathematical modeling, this book also introduces a new method for computer content analysis able to score text for its support of different viewpoints. The method is highly flexible and adaptable, yielding great precision for any topic in any language. Although previous work has indicated that the press is able to set the agenda with regard to public opinion, this book is unique in demonstating that the press also is able to mold opinion within that agenda. Fan begins with a presentation of ideodynamics followed by an examination of the ability of the mathematical model to incorporate previous theories. He then considers data applications and discusses the conclusions to be drawn from the work. The empirical testing uses the ideodynamic equations and scores from the text analysis to predict time trends of public opinion which correspond strikingly well with actual poll measurements.
Informed by the poetic and philosophical works of a number of other writers, McGowan's readings of Sexton's work are detailed and thorough. The work opens with a reconsideration of an early Sexton poem and moves through her other works in a carefully crafted fashion. He argues against the confessional interpretations of earlier readings and resituates the debate into Sexton's poetic territories, concentrating on her words, not her world. Concluding that Sexton's work challenges aesthetic and philosophical issues concerning our existence in this world and how language attempts to respond to such questions, McGowan offers a new approach and a fresh outlook on the poetry Sexton has left us.
Stephen Silverman and Raphael Silver tell of the turning points that made the Catskills so vital to the development of America: Henry Hudson’s first spotting the distant blue mountains in 1609; the New York State constitutional convention, resulting in New York’s own Declaration of Independence from Great Britain and its own constitution, causing the ire of the invading British army . . . the Catskills as a popular attraction in the 1800s, with the construction of the Catskill Mountain House and its rugged imitators that offered WASP guests “one-hundred percent restricted” accommodations (“Hebrews will knock vainly for admission”), a policy that remained until the Catskills became the curative for tubercular patients, sending real-estate prices plummeting and the WASP enclave on to richer pastures . . .
Here are the gangsters (Jack “Legs” Diamond and Dutch Schultz, among them) who sought refuge in the Catskill Mountains, and the resorts that after World War II catered to upwardly mobile Jewish families, giving rise to hundreds of hotels inspired by Grossinger’s, the original “Disneyland with knishes”—the Concord, Brown’s Hotel, Kutsher’s Hotel, and others—in what became known as the Borscht Belt and Sour Cream Alps, with their headliners from movies and radio (Phil Silvers, Eddie Cantor, Milton Berle, et al.), and others who learned their trade there, among them Moss Hart (who got his start organizing summer theatricals), Sid Caesar, Lenny Bruce, Mel Brooks, Woody Allen, and Joan Rivers.
Here is a nineteenth-century America turning away from England for its literary and artistic inspiration, finding it instead in Washington Irving’s “Rip Van Winkle” and his childhood recollections (set in the Catskills) . . . in James Fenimore Cooper’s adventure-romances, which provided a pastoral history, describing the shift from a colonial to a nationalist mentality . . . and in the canvases of Thomas Cole, Asher B. Durand, Frederick Church, and others that caught the grandeur of the wilderness and that gave texture, color, and form to Irving’s and Cooper’s imaginings.
Here are the entrepreneurs and financiers who saw the Catskills as a way to strike it rich, plundering the resources that had been likened to “creation,” the Catskills’ tanneries that supplied the boots and saddles for Union troops in the Civil War . . . and the bluestone quarries whose excavated rock became the curbs and streets of the fast-growing Eastern Seaboard.
Here are the Catskills brought fully to life in all of their intensity, beauty, vastness, and lunacy.
From the Hardcover edition.
Using surveys conducted during the 1984 and 1988 presidential campaigns, Diana Owen first addresses two basic research questions. How do media messages transmitted during presidential elections shape voter attitudes toward and perceptions of candidates and campaign issues? Do different types of media messages influence voters' feelings about candidates and elections in different ways? Focusing on candidate advertisements, newspaper and television news stories, poll results, and presidential debates, she also ties voters' general media use habits to the way they receive and process media messages.
This first modern American study of Jules Verne offers a wide-ranging reappraisal of a very familiar but often misunderstood author and his works. In spite of his status as one of the most translated novelists of all time, Verne and his Voyages Extraordinaires have long been neglected in American literary scholarship. This book seeks to reaffirm Verne's significant contribution to the development of early science fiction through a detailed investigation of his romans scientifiques. Evans has focused his study on the didactic dimension of Verne's narratives, which were originally intended to teach the rudements of science and morality to French youth through the medium of popular fiction.
Ahmad presents a thorough account of Indian history during the 19th and 20th centuries, analyzing how the relationship between Hindus and Muslims has been shaped by each significant political and social development. Evidence of both selectivism and assimilation between Hindus and Muslims, a concept not previously accepted, is apparent throughout the history, and the issue of the origins of the identity of the Muslim consciousness which now exerts such influence in the region is explained in terms of the interaction of religious, social, cultural, and global factors. By viewing India's struggle for its post-colonial identity from this comprehensive historical perspective, this work illuminates some of the fundamental causes of similar conflicts throughout the former colonial world.
In The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.
These great directors viewed space not as simple emptiness, nor as something to be manipulated pragmatically, but as a frame or palette in which to work. Their arrangements of cinematic space become not just visually recurrent techniques, but aesthetic touchstones that alert spectators to the narrative shape of the film and invite the spectator to have a more self-conscious relation to the film. Bowman explains how Capra's challenge was to take what is spatially familiar, like James Stewart's or Gary Cooper's neighborhood or small town, and defamiliarize it enough so that we see it for the first time. Lubitsch's creation of film space relies on the indirection so apparent in his scripts by Samuel Raphaelson; he depends on what the spectator cannot yet see or only anticipates, relying upon our imaginations, especially our potential lasciviousness. Sternberg's veiled shots of Marlene Dietrich and others convey a very basic skepticism about human capacity for both sight and insight, and Wyler emotionalizes his films's space by having characters like Bette Davis confront each other in triangular groups or by double framing his figures with architectural second frames. Each director approached film space with his own singular style, but all four techniques shared a common purpose to explain characters or to teach the spectator to see more intensely.
Following a glimpse into his childhood, education, and military career, Ronald Garay describes McLendon's station ownership and management in Palestine, Texas; the development of a major network, the Liberty Broadcasting System; his live and recreated baseball and football programs; and his skirmishes with the major league baseball establishment. Much attention is given to how McLendon re-invented radio and competed with television and print media through his Top 40 music hits, disc jockey programming, and the use of local news. Important concerns regarding station trafficking, editorializing, and public interests are considered as well in this extraordinary book.
How does art work? How does it move us, inform us, challenge us? Internationally renowned painter David Salle’s incisive essay collection illuminates these questions by exploring the work of influential twentieth-century artists. Engaging with a wide range of Salle’s friends and contemporaries—from painters to conceptual artists such as Jeff Koons, John Baldessari, Roy Lichtenstein, and Alex Katz, among others—How to See explores not only the multilayered personalities of the artists themselves but also the distinctive character of their oeuvres.
Salle writes with humor and verve, replacing the jargon of art theory with precise and evocative descriptions that help the reader develop a personal and intuitive engagement with art. The result: a master class on how to see with an artist’s eye.
Because he coached at schools throughout the country during some of the most eventful years in our history, Heisman's life relates to significant political, economic, and social developments that impacted on American society as well as sports. However, this book is much more than the story of John Heisman's 36-year coaching career. It is also the story of how an indigenous American public ritual--the Big Game---came about and how college football evolved into the complex, problematic, and highly structured big business that it is today.
Responding to a major challenge, community groups and organizations throughout the country are seeking answers to the problem of underachieving minority students. This volume builds on these shared interests and is a first step toward an intervention process. Topics covered include: creating effective instructional programs; reducing the dropout rate; preparing students for secondary and postsecondary success; helping limited English proficient students; and improving teacher quality. The volume's contributors hope to promote dialogue on promising practices, foster collaboration, identify critical R & D needs and collaborative arrangements, and identify testing and evaluation issues for subsequent inquiry.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
From the Trade Paperback edition.
Author and radical artist Nicolas Lampert combines historical sweep with detailed examinations of individual artists and works in a politically charged narrative that spans the conquest of the Americas, the American Revolution, slavery and abolition, western expansion, the suffragette movement and feminism, civil rights movements, environmental movements, LGBT movements, antiglobalization movements, contemporary antiwar movements, and beyond.
A People’s Art History of the United States introduces us to key works of American radical art alongside dramatic retellings of the histories that inspired them. Stylishly illustrated with over two hundred images, this book is nothing less than an alternative education for anyone interested in the powerful role that art plays in our society.
The chapters are a collection of research findings produced for the International Communications and Youth Cultures Consortium (ICYC), an informal group of international scholars in many disciplines who are committed to understanding the economic and social factors that influence cultures and youth. Their point of view in this work is their individual country and the tensions that arise from the development of international communication systems. Each view is from inside the country; external influences are not subjects of study in themselves but are viewed as part of a complex scene along with other variables operating in various national situations.
As the contributors show, the French Revolution was more than a series of political events that took place in one European country at the end of the 18th century. Instead, it was a trans-historical, multi-national, and multi-cultural discourse. It served as a point of reference by which and through which a complex of cultural values and styles could be defined, and as a model (even a negative model) for the elaboration of ideologies, and of political and administrative strategies for bureaucracies around the world. An invaluable collection for all students of the Revolution and its impact.
In this highly engaging book, Evelyn Toynton examines Pollock's itinerant and poverty-stricken childhood in the West, his encounters with contemporary art in Depression-era New York, and his years in the run-down Long Island fishing village that, ironically, was transformed into a fashionable resort by his presence. Placing the artist in the context of his time, Toynton also illuminates the fierce controversies that swirled around his work and that continue to do so. Pollock's paintings captured the sense of freedom and infinite possibility unique to the American experience, and his life was both an American rags-to-riches story and a darker tale of the price paid for celebrity, American style.
Studies of Wagner's theoretical writings and music-dramas have not emphasized aspects of his works within the tradition of German drama and aesthetic theory. This discussion of Wagner's revision of Greek tragedy in Oper und Drama, supplemented by an original interpretation of the Ring operas, places Wagner's writings within these realms. As a fresh interpretation of the Ring tetralogy, this valuable analysis will appeal to Wagner scholars and musicologists interested in Wagner's operas as well as to German cultural history and literary scholars.
"I started challenging myself six or seven years ago to prepare tasty cuisine that reflected my heritage and influence but to alter it so that people could eat it more than once a week and not have to worry about suffering from high blood pressure in every bite," Woods said.
In Home Plate Cooking, Woods shares recipes for delicacies such as:Cheddar Grits Soufflé New Southern Chicken & Dumplings Carrot Apple Slaw Cheddar Cornbread Okra & Tomatoes Bourbon-Baked Ham New Orleans Barbecued Shrimp Pecan Sandies Upside-Down Apple Cake
The American press has performed various functions throughout the years. The Colonial Press served as a vehicle of discussion, debate, and finally agitation and, in the process, may have defined itself and laid a groundwork for the press's future roles. The press has agitated, advocated, and persuaded. It has been duped, it has been unfair, and it has misled. This volume considers such concepts as advocacy journalism, a central theme of the chapters on abolitionists and David Duke, and social responsibility, a primary part of the chapter on Japanese-American internment. The press's attempt to lead public opinion is the focus of the chapters on the partisan press, the antebellum period, and the first Red Scare in 1919. The chapter on Joseph McCarthy looks at the concepts of objectivity and the use and misuse of pseudo news. The final chapter, on overpopulation, deals extensively with agenda setting.
It has been thought that the meaning of this ancient art was lost with the artists who produced it. However, thanks to research breakthroughs, these elaborate rock paintings are again communicating a narrative that was inaccessible to humanity for millennia. In the gateway serpents, antlered shamans, and human-animal–cross forms pictured in these ancient murals, Boyd sees a way that ancient hunter-gatherer artists could express their belief systems, provide a mechanism for social and environmental adaptation, and act as agents in the social, economic, and ideological affairs of the community. She offers detailed information gleaned from the art regarding the nature of the lower Pecos cosmos, ritual practices involving the use of sacramental and medicinal plants, and hunter-gatherer lifeways.
Now, combining the tools of the ethnologist with the aesthetic sensibilities of an artist, Boyd demonstrates that prehistoric art is not beyond explanation. Images from the past contain a vast corpus of data—accessible through proven, scientific methods—that can enrich our understanding of human life in prehistory and, at the same time, expand our appreciation for the work of art in the present and the future.
The famous and privileged actor Werner Krauss is the subject of an essay on artistic responsibility, while a chapter on three famed directors--Grundgens, Fehling, and Hilpert--shows how artists maneuvered for artistic freedom. The Propaganda Ministry's first national festival in Dresden in 1934 is covered. The final two essays look at minority theatre--Jewish theatre in the anti-Semitic Third Reich and, as a postscript to the volume, theatre in the Nazi concentration camps.
Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to finish abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her redoubled projection onto his work. Krauss identifies these elements throughout de Kooning’s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America’s greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.
Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.
Scholars of German literature and culture will appreciate this innovative interpretation and study of the Ring. New ideas proposed include the suggestions that Schiller's Wallenstein trilogy might have served as a covert source for the Ring and that Ariadne auf Naxos and Mahagonny represent parodies of the Ring. The theory underlying the Ring will attract musicologists and interdisciplinary literary scholars interested in the interrelationship between words and music and literature and opera.
This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.
Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.
Appealing to Grateful Dead scholars, fans, and collectors alike, these twenty-two essays are grouped by subject, and each essay includes a bibliography of resources for further research.
Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol's first exhibition, Marcel Duchamp's first retrospective, Frank Gehry's mind-bending architecture, Rudi Gernreich's topless bathing suit, Dennis Hopper's Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.
Woodrow Wilson is perceived as the epitome of the modern idealist who took the United States into World War I to make the world safe for democracy; however, this book will show that this view of Wilson is fraught with more than the usual distortions. With the end of the Cold War and the publication of the full body of Wilson's papers, it is now possible to examine Wilson in a new and more complete light. The tensions between Wilson's private ambitions and his public role refute the main stereotype of him as an idealist.
This comparative approach provides a wealth of information on family life in Ireland at both the county and the provincial levels. It addresses the role of home and school as a model of socialization and the use of emigration as a coping device. The author also explores the social climate created by the 1838 Poor Law. Ultimately, the stress of struggling to survive the natural disaster of the famine, combined with the political developments of the day, had a devastating effect on the young.
Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.
Brecher provides an unprecedently full-scale analysis of the political, military, social, and economic conditions of mid-18th-century France and its North American colony, New France. That analysis also examines the direct connection between those internal conditions and the results for France of the war that ended in 1763. In doing so, Brecher assesses France's military strategy and major battles in Europe and America, as well as the diplomatic goals Versailles set for itself in the conduct of the war. Further, he describes why France concurred in leaving not only Canada, but also the vast Louisiana territory, to be divided between England and France's belated wartime ally, Bourbon Spain. Finally, Brecher explains the longer-term implications of the war for North American development and for the future of France. This is an important study for students and scholars of French and colonial American history and for the broad reading public, as well as those interested in the more recent Quebec problem.
^IBrown and Black Communication^R challenges those who do not think that significant projects and key research have been conducted on the two largest ethnic communities in the United States. Of certain appeal to both scholars and those with more applied needs in media, education, and public policy, this challenging collection offers a range of perspectives on two widely diverse bodies of American people.
Beginning with research on Gorbachev's time in office, the book analyzes the effect of Moscow's policies on Kazakhstan and the factors which propelled the republic to independence. Next, one sees how Kazakhstan and Russia tried to establish a new, post-imperial basis for their relations during the first six months after the break-up of the Soviet Union. Subsequent chapters move from historical to structural analysis. With his inside knowledge of the mechanisms of Russian foreign policy formulation, the author pays particular attention to such controversial problems as Kazakh policy in the creation of a nation and its effects on Kazakhstan's Russian population; the concept of Eurasian Union, Custom's Union, and other integration initiatives supported by Kazakhstan; Kazakh nuclear disarmament; the Caspian Pipeline Consortium; and the legal status of the Caspian Sea.