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Gender, Drama, and Nostalgia in Ancient Greece
Greek drama demands a story of origins, writes Karen Bassi in Acting Like Men. Abandoning the search for ritual and native origins of Greek drama, Bassi argues for a more secular and less formalist approach to the emergence of theater in ancient Greece. Bassi takes a broad view of Greek drama as a cultural phenomenon, and she discusses a wide variety of texts and artifacts that include epic poetry, historical narrative, philosophical treatises, visual media, and the dramatic texts themselves. In her discussion of theaterlike practices and experiences, Bassi proposes new conceptual categories for understanding Greek drama as a cultural institution, viewing theatrical performance as part of what Foucault has called a discursive formation. Bassi also provides an important new analysis of gender in Greek culture at large and in Athenian civic ideology in particular, where spectatorship at the civic theater was a distinguishing feature of citizenship, and where citizenship was denied women. Acting Like Men includes detailed discussions of message-sending as a form of scripted speech in the Iliad, of disguise and the theatrical body of Odysseus in the Odyssey, of tyranny as a theaterlike phenomenon in the narratives of Herodotus, and of Dionysus as the tyrannical and effeminate god of the theater in Euripides' Bacchae and Aristophanes' Frogs. Bassi concludes that the validity of an idealized masculine identity in Greek and Athenian culture is highly contested in the theater, where--in principle--citizens become passive spectators. Thereafter the author considers Athenian theater and Athenian democracy as mutually reinforcing mimetic regimes. Acting Like Men will interest those interested in the history of the theater, performance theory, gender and cultural studies, and feminist approaches to ancient texts. Karen Bassi is Associate Professor of Classics, University of California, Santa Cruz.
Political Theater and Popular Drama in Contemporary China
Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.
The National Museum, Politics, and Nation Building in Brazil
For the first time in English, Brazil’s leading environmental historian, Regina Horta Duarte, brings us a nuanced analysis of the National Museum of Brazil’s contribution to that country’s formation and history. In Activist Biology, Duarte explores the careers of three of these scientists as they leveraged biology as a strategy for change. Devoted to educational initiatives, they organized exhibits, promoted educational film and radio, wrote books, published science communication magazines, fostered school museums, and authored textbooks for young people. Their approach was transdisciplinary, and their reliance on multimedia formats was pioneering.
Capturing a crucial period in Brazil’s history, this portrait of science as a creative and potentially transformative pathway will intrigue anyone fascinated by environmental history, museums, and the history of science. Duarte skillfully shows how Brazilian science furthered global scientific knowledge in ways that are relevant now more than ever.
The Progressive Response to the Reagan Era in Boston and Chicago
In 1983, Boston and Chicago elected progressive mayors with deep roots among community activists. Taking office as the Reagan administration was withdrawing federal aid from local governments, Boston's Raymond Flynn and Chicago's Harold Washington implemented major policies that would outlast them. More than reforming governments, they changed the substance of what the government was trying to do: above all, to effect a measure of redistribution of resources to the cities' poor and working classes and away from hollow goals of "growth" as measured by the accumulation of skyscrapers. In Boston, Flynn moderated an office development boom while securing millions of dollars for affordable housing. In Chicago, Washington implemented concrete measures to save manufacturing jobs, against the tide of national policy and trends.
Activists in City Hall examines how both mayors achieved their objectives by incorporating neighborhood activists as a new organizational force in devising, debating, implementing, and shaping policy. Based in extensive archival research enriched by details and insights gleaned from hours of interviews with key figures in each administration and each city's activist community, Pierre Clavel argues that key to the success of each mayor were numerous factors: productive contacts between city hall and neighborhood activists, strong social bases for their agendas, administrative innovations, and alternative visions of the city. Comparing the experiences of Boston and Chicago with those of other contemporary progressive cities-Hartford, Berkeley, Madison, Santa Cruz, Santa Monica, Burlington, and San Francisco-Activists in City Hall provides a new account of progressive urban politics during the Reagan era and offers many valuable lessons for policymakers, city planners, and progressive political activists.
World War II, Mental Institutions, and Religious Objectors
In the mid- to late 1940s, a group of young men rattled the psychiatric establishment by beaming a public spotlight on the squalid conditions and brutality in our nation’s mental hospitals and training schools for people with psychiatric and intellectual disabilities. Bringing the abuses to the attention of newspapers and magazines across the country, they led a reform effort to change public attitudes and to improve the training and status of institutional staff. Prominent Americans, including Eleanor Roosevelt, ACLU founder Roger Baldwin, author Pearl S. Buck, actress Helen Hayes, and African-American activist Mary McLeod Bethune, supported the efforts of the young men. These young men were among the 12,000 World War II conscientious objectors who chose to perform civilian public service as an alternative to fighting in what is widely regarded as America’s "good war." Three thousand of these men volunteered to work at state institutions, where they found conditions appalling. Acting on conscience a second time, they challenged America’s treatment of its citizens with severe disabilities. Acts of Conscience brings to light the extraordinary efforts of these courageous men, drawing upon extensive archival research, interviews, and personal correspondence. The World War II conscientious objectors were not the first to expose public institutions, and they would not be the last. What distinguishes them from reformers of other eras is that their activities have faded from professional and popular memory. Steven J. Taylor’s moving account is an indispensable contribution to the historical record.
Performance Culture and American Charity Practices
Acts of Conspicuous Compassion investigates the relationship between performance culture and the cultivation of charitable sentiment in America, exploring the distinctive practices that have evolved to make the plea for charity legible and compelling. From the work of 19th-century melodramas to the televised drama of transformation and redemption in reality TV’s Extreme Makeover: Home Edition, Acts of Conspicuous Compassion charts the sophisticated strategies employed by various charity movements responsible for making organized benevolence alluring, exciting, and seemingly uncomplicated. Sheila C. Moeschen brokers a new way of accounting for the legacy and involvement of disabled people within charity—specifically, the articulation of performance culture as a vital theoretical framework for discussing issues of embodiment and identity dislodges previously held notions of the disabled existing as passive, “objects” of pity. This work gives rise to a more complicated and nuanced discussion of the participation of the disabled community in the charity industry, of the opportunities afforded by performance culture for disabled people to act as critical agents of charity, and of the new ethical and political issues that arise from employing performance methodology in a culture with increased appetites for voyeurism, display, and complex spectacle.
Although Benjamin’s place in the canon of twentieth-century critical theorists is now established, the boundaries of his work still resist classification and demarcation. His writings, including the best known collection Illuminations, remain an uneasy but thrilling combination of the actual and the mystical, of Marxism and messianic utopianism. This collection shows how extraordinarily substantial were the theoretical footholds which Walter Benjamin supplied: Irving Wohlfarth on historical understanding versus historicism, Zygmunt Bauman on Benjamin the intellectual, Sigrid Weigel on feminism and cultural analysis, Gillian Rose on Benjamin and the sources of Judaism and Martin Jay on the use of imagery in Benjamin’s novels.
The Life of a Romantic
Adam Mickiewicz (1798-1855), Poland's national poet, was one of the extraordinary personalities of the age. In chronicling the events of his life-his travels, numerous loves, a troubled marriage, years spent as a member of a heterodox religious sect, and friendships with such luminaries of the time as Aleksandr Pushkin, James Fenimore Cooper, George Sand, Giuseppe Mazzini, Margaret Fuller, and Aleksandr Herzen-Roman Koropeckyj draws a portrait of the Polish poet as a quintessential European Romantic.
Spanning five decades of one of the most turbulent periods in modern European history, Mickiewicz's life and works at once reflected and articulated the cultural and political upheavals marking post-Napoleonic Europe. After a poetic debut in his native Lithuania that transformed the face of Polish literature, he spent five years of exile in Russia for engaging in Polish "patriotic" activity. Subsequently, his grand tour of Europe was interrupted by his country's 1830 uprising against Russia; his failure to take part in it would haunt him for the rest of his life. For the next twenty years Mickiewicz shared the fate of other Polish émigrés in the West. It was here that he wrote Forefathers' Eve, part 3 (1832) and Pan Tadeusz (1834), arguably the two most influential works of modern Polish literature. His reputation as his country's most prominent poet secured him a position teaching Latin literature at the Academy of Lausanne and then the first chair of Slavic Literature at the Collége de France. In 1848 he organized a Polish legion in Italy and upon his return to Paris founded a radical French-language newspaper. His final days were devoted to forming a Polish legion in Istanbul.
This richly illustrated biography-the first scholarly biography of the poet to be published in English since 1911-draws extensively on diaries, memoirs, correspondence, and the poet's literary texts to make sense of a life as sublime as it was tragic. It concludes with a description of the solemn transfer of Mickiewicz's remains in 1890 from Paris to Cracow, where he was interred in the Royal Cathedral alongside Poland's kings and military heroes.